Archive 2020 Š 2020 Ryerson School of Interior Design’s Year End Show Committee All rights reserved. All words, photographs, drawings and other content are courtesy of students and faculty. All content is copyright of their respective creators and is reproduced here with permission. The committee has made every effort to see that no inaccurate or misleading information appears in this publication, and is in no way liable for the accuracy of any content. Reproduction of any information without written permission of the publisher and respective students is forbidden.
C
O
N
04
54
Message from Swetha Srikanth, YES
Do, Thanh
05
58
Message from Charles Falzon, FCAD & Lois Weinthal, RSID
Falzone, Giovanna Fernandes, Lauren Fluke, Myiah Frolov, Ilanit Fung He, Candy Furquan, Kaashif
06
Professors & Studios IRN 700 & IRN 800
82 Galipeau, Zoe Gallagher, Shannon Garisto, Sara Ghobrial, Natalie Goble, Claire
14 Anning, Ryan
18
102
Balkowski, Clair Barrientos, Megan-Shine Bles, RĂŠmy Boudreau, Brittany Brathwaite-Lynch, Danielle Bruno, Victoria Buchwitz, Jenna
Houghton, Katie
106 Iamarino, Jamie
46
110
Chan, Conan Copp, Averil
Jaramillo Gomez, Sara John, Joanne
02
T
E
N
T
118
186
Krolicka, Veronica Kylie, Lauren
Shaen, Emma Stabile, Melissa Stedman, Delaney
126
198
Lai, Vanessa Lau, Phoebe Law, Celine Li, Amy Chen Hui Ling Li, Anna Lukaszczyk, Adrian
Tetelbaun, Nicole Tevyants, Maria Tin, Robert
210 Xie, Mindy
150
214
Meunier, Julie Mistry, Hina Moawad, Salma Moniz, Rachel Mostafaei, Kimia
Zanko, Alisa Zhao, Sandy Zhou, Siya
170
226
O’Grady, Shannon
The Class of 2020
174
227
Park, Sally
The Year End Show Committee
178
228
Richardson, Sidnee Ryner, Sarah
Sponsors
03
S
This publication showcases a collection of studio work produced by ThisRyerson publication showcases a collection of studio work the School of Interior Design’s Graduating Classproduced of 2020. by It the Ryerson School of Interior Design’s Graduating Class of 2020. It honours their journeys as students and their ability to overcome honourschallenges, their journeys as students theirand ability to overcome unique find their creativeand voices, become emerging unique challenges, find their creative voices, and become emerging designers. Archive 2020 inscribes their time within history and designers. aArchive 2020 inscribes their narrative. time within history and announces new beginning in the design announces a new beginning in the design narrative. To all the graduates, congratulations! While we might want to forget To all graduates, congratulations! mightall want forget all thethe sleepless nights, I hope we While neverwe forget thetoshared all the sleepless nights, I hope we never forget allthrough the shared experiences. We have become a tight-knit community our experiences. We have become tight-knithours community ourI collective struggles, travels, andacountless togetherthrough in studio. collective struggles, travels, and countless hours together in studio. hope that we can draw upon these experiences throughout ourI hope that can draw uponbeen thesesurrounded experiences throughout our careers. I amwe so grateful to have by such meticulous careers. I am so grateful to have been surrounded by such meticulous and empathetic designers. From what I have seen everyone and empathetic Fromof what have seen everyone accomplish in suchdesigners. a short period time, II am confident that you accomplish in such a short period of time, I ammeaningfully confident that you will be successful in all your endeavours and will impact will be successful in all your endeavours and will meaningfully impact the world through design. the world through design. To all the readers, thank you for joining us as we celebrate the To all theachievements. readers, thank you for isjoining us as we celebrate the graduates’ Our team honoured to present the work graduates’ achievements. Our team is honoured to present the work of this resilient, determined, and diverse community of creatives. I of thisthis resilient, determined, diverse community creatives.ofI hope publication gets youand excited about the next of generation hope this and publication gets you industry. excited about the next generation of designers the future of this designers and the future of this industry.
MES SAGE S 04
S
Dear RSID Class of 2020, Congratulations on graduating from FCAD's prestigious Interior Design program. This is a tremendous accomplishment, and I am truly proud of each and every one of you. Before you go on to become leading professionals in the field of interior design, take the time to celebrate. Each page in this book represents your hard work, dedication, and refined creative talents. FCAD is where you came to learn, transform and reimagine everything you thought was creative. Now, it is time for you to apply what you’ve learned to shape the future. You've proven that you've got what it takes ― a high degree of creativity, innovation and ambition that will allow you to go forward and make your mark. We're all here cheering you on, and we can't wait to see the amazing work you'll do as a proud FCAD alumni. Remember to stay in touch with FCAD, RSID and Ryerson! Congratulations, from all of us at FCAD.
Congratulations to the Class of 2020! The Year End Show theme of ‘Archive’ captures this moment and will be an important resource for future years. Looking forward, I hope you will continue to use your knowledge to alter interior spaces that support the needs of our times. You are graduating at an important moment in history where professional practice is being looked at through a new lens and interiors are more important than ever as we use them in new ways. Your final studio projects are neatly displayed in this collection, but we know there were countless hours, drawings, questions, critiques (and coffee) that helped reach the final works shown here. Much has changed since you first walked into RSID and it shows by the sophisticated and thoughtful level of projects on these pages. I hope you will always see the School of Interior Design as a significant part of your life as you launch into your careers and forge responsible and compassionate paths for the discipline. Congratulations!
05
NADIA CANNATARO
RN700
Nadia Cannataro is Principal and co-founder of large [medium] design office. A Registered Interior Designer in the Province of Ontario and a LEED AP, Nadia holds a Bachelor of Interior Design from Ryerson University. Upon graduation, Nadia traveled to Europe where she was employed at a boutique design practice, honing her concept development, communication and brand development skills. A versatile designer with experience in the realms of corporate, institutional, residential and retail interiors, Nadia has shaped multiple projects over the course of her career ranging in size internationally and across Canada. Prior to co-founding large [medium] design office, Nadia worked at several firms in Toronto where she led the interior design work for several large corporate interior initiatives. Passionate about creating dynamic and compelling environments within the specific context established by client requirements, brand and site specificity, Nadia is equally engaged in the crafting and construction of her ideas, a fundamental component of the practice.
LORELLA DI CINTIO
Lorella Di Cintio is educated in Canada, the United States, and Europe in the fields of Interior Design, Architecture, and Media and Communications. She has received academic fellowships from Massey College and McLuhan Centre, University of Toronto. She has received the Ryerson University Equity, Diversity and Inclusion Award, Universidad Iberoamericana, Silver Medal, and Interior Design Educators Council, Community Service Award. Di Cintio’s creative practice includes international exhibitions and publications - The Drawing Centre, NY, Susanne Hilberry Gallery, MI, The Detroit Institute of Art, MI, Allentown Art Museum, PA, Malmo University, Sweden, and Curtin University, Australia. She has received arts fellowships at The MacDowell Colony, NH, and Mateus Artist Residency, Portugal.
CATHERINE DOWLING Catherine completed an M.Ed at University of Toronto following a B.Arch and BES at University of Waterloo, a degree in Interior Design at University of Manitoba and study at Arcosanti. Her teaching, research and practice is founded on design and construction excellence, design thinking, with an emphasis on the process of making in her collaborative studio Dowling Architects, receiving an OAA Honourable Mention for Architectural Excellence, two WoodWorks awards and multiple publications. Catherine’s research explores the relationship between design and learning, the handmade, indigenous material culture, impacts of kinesthetic creation on the processes of critical thinking, education and cultural design literacy.
06
Professor Barbara Vogel (M.Arch, ENG. DIP. RCA, OAA) has an established professional career in Europe and Canada. She is the founding partner of Vogel Architects Inc. who have undertaken various hospitality projects in Egypt and Bermuda. She was the Design Director for Canadian embassies in Berlin, Seoul and Hague. Her experience has also taken her to Washington, DC where she worked with Arthur Erikson Office as a Design Director in charge of DC’s Canadian embassy. She is also a member and past President (2000 – 2015) of the Royal Canadian Academy of Arts. Her key accomplishments include the OAA 1999 Award of Architectural Excellence for an experimental Summer Retreat, the Queen Elizabeth II Diamond Jubilee Medal for outstanding contributions to the Canadian art community and Ryerson’s International Global Learning Award in 2019.
LINDA ZHANG
PROFESSORS
BARBARA VOGEL
Linda Zhang is a interior design educator, licensed architect and artist. She is an assistant professor at Ryerson SID and a principal at Studio Pararaum. She is a 2021 Artist in Residence at the European Ceramic Workcentre (EKWC) and was a recipient of the 2019 Multicultural Fellow at NCECA, the 2017-2018 Boghosian Fellow at Syracuse University SOA as well as a 2017 Fellow at the Berlin Center for Art and Urbanistics. Her research areas include memory, cultural heritage, and identity as they indexically embodied through matter, material processes and reproduction technologies.
07
Reconstructing the Space of Retail Nadia Cannataro
RN700
As on-line shopping- and a string of store closings dubbed the retail apocalypse- threatened the relevancy of physical retail stores, statistics indicate growing revenues in brick and mortar locations. Successful retailers who began on-line are investing in physical spaces demonstrating the importance and significance of a physical retail store. This studio explored what it means to remain relevant in the pre-covid landscape of the physical retail environment. This was examined within the context of a site and a hypothetical client. Student projects address issues of e-commerce, brand identity, customer experience and how they manifest in a physical space.
Archival Strategies: Contemporary Terms for Museums and Creative Practitioners Lorella Di Cintio
The role of museums has shifted dramatically - creative practitioners are now considered catalysts for contemporary discourse. The museum as an artistic medium is fast becoming an accepted methodology. To address this conversation, we draw on Jacques Derrida’s concept of ‘the archive’ to focus on the ‘curated interior’ by juxtaposing the domestic and institutional interior. As a stepping-off point, the studio explores Dr. Sigmund Freud and Dr. Lillian Malcove’s interiors, both psychoanalysts who amassed large art collections. We are entering a new era of “archiving the archive” (Derrida).
Place Making for the Transfer and Longevity of Culture Catherine Dowling
Aligning the instructor’s research on indigenous material culture, pre-contact pottery and impacts of making on the processes of critical thinking, learning, and cultural design literacy, this studio introduces learning models supporting the connection of mind and body (kinesthetic creation) as theoretical foundation and framework for independent student research. Studio making circles (with clay) support studio discussions of ideas, rituals and social practices to redefine culture beyond ethnicity and historical preconceptions for further individual exploration of cultural issues such as identity, belonging, inhabitation and human connection to interior space, material culture, art, communication, technology, geography, politics and sustainability. 08
Annick Mitchell
STUDIOS
Steelcase NEXT HUB Student Design Competition
NEXT University in the heart of Washington, DC has a vision: to increase their reach into a larger urban population and to provide an alternative place for students of all ages to gather, connect, explore, and engage in lifelong learning experiences. Students are expected to design three levels of a commercial condo building which is assigned to Steelcase’s NEXT HUB Student Design Competition. These spaces are designed in accordance to guidelines supplied by Steelcase, and are meant to explore more innovative educational design solutions through the use and implementation of Steelcase products.
Historical Interventions in Cortona, Italy Barbara Vogel
The short-term intensive course based in Cortona, Italy encouraged students to recognize legacy and historic preexistence as a platform for modern intervention. They were tasked to demonstrate how design is a tangible indicator of a changing world and our response to shifting tendencies, while developing a multi-sensory product with a relevant narrative. The course included researching site history, socio-political-economical conditions and relevant precedences that informed their spatial solutions to restore the Girifalco Fortress as an International Arts Academy. Additionally, the students introduced features that could revitalize the connection between the Fortezza and Cortona city centre.
Ghosts of Chinatowns - Interior Atmospheres of Memory Linda Zhang
Who holds the right to decide what gets remembered? Conversely, the right to forget? The studio explores the forgotten stories, willful omissions, and accumulation of silences that exist beyond Toronto’s official heritage definition of its Chinatown neighbourhoods. Through interior design we explored how to put personal stories and individual memory in conversation with state-sanctioned narratives. Each of the projects explored the idea that all that is written is not necessarily all that is, and what is remembered extends far beyond what is recorded. The studio identified Chinatown’s future heritage(s) through the affects produced by interior architecture, lived-experience and collective storytelling. 09
TAYMOORE BALBAA Taymoore Balbaa (OAA, NCIDQ), is an Associate Professor at RSID. He is a co-founder of AXIA Design Associates (www.axiadesign.ca), and the recipient of 2 major national awards, the Prix de Rome for Emerging Practitioners, and the Young Architect Award (RAIC). His body of work includes residential (custom, social, infill, high-rise) as well as workplaces, cultural and educational buildings, and places of worship. Taymoore has taught architecture and design at the University of Waterloo, University of Toronto, and at Ryerson University (RSID) where he has taught since 2012.
RN800
FILIZ KLASSEN Filiz Klassen is an artist and researcher at Ryerson University, School of Interior Design. Her research emphasizes materiality as ‘responsive matter’ and focuses on adaptability of architecture and interiors in order to minimize the building industry’s impact on climate change. She has received industry and government funding for her projects such as Malleable Matter: Material Innovations in Architecture (Research Creation Grant from the Social Sciences and Humanities Research Council of Canada). Her major solo exhibition ‘Snow, Rain, Light, Wind: Weathering Architecture’ travelled across Canada (2009/10). She has presented at conferences internationally and her articles are published in books, and academic and professional journals. filiz-klassen.com
ADAM KOLODZIEJ Adam is one of the many enthusiasts and admirers of beauty of life, as well as that of an emotive space-time. Brought up in the culturally and spiritually saturated atmosphere of the millennium-old city of Kraków, Poland, he strongly belongs to the world of his own beliefs. He treasures past memories and trusts the future. He truly values his PhD in Fine Arts from the 200-years old Academy of Fine Arts in Kraków, Poland. Tempted to call himself an Artist in Scenography; he has an innate ability to encompass theatre, film, interior design and architectural areas in the service of our emotional and perceptual needs.
10
Anamarija creates expressive works in the fields of architecture, industrial design, furniture, graphics, and art. Recurring aesthetic motifs in her practice include digital expression, fluid shapes, curvature, ethereal colours, futurism, and the sublime. With a deep interest in high-quality housing for everyone, Anamarija proposed a housing solution for her Master of Architecture thesis, and she has since worked on residential projects throughout North America, Europe, and Southeast Asia. Her work-live housing proposal benefitting Inuit populations in Nunavut was chosen to exhibit with Team Canada at the 2014 Venice Biennale in Architecture. Anamarija’s work is optimistic about the possibilities of tomorrow.
SHAI YESHAYAHU
PROFESSORS
ANAMARIJA KOROLJ
Shai Yeshayahu (www.shaiy.net), is an Assistant Professor at Ryerson School of Interior Design (RSID). He is the co-founder of VerS+, an international research and design practice responsive to how ancient, emerging, and local data informs making. The collaborative has designed, fabricated, and mounted several complex installations, curated exhibitions, and completed commissioned architectural projects.
11
Between Worlds: Sacred Space in Fragmented Times Taymoore Balbaa
RN800
This studio considers material, light, and volume in the creation of spaces and as shelters of otherworldly character, whilst questioning what a “sacred” space is in societies as fragmented physically as they are connected virtually. From environments of solitary introspection to vessels of public gathering, these self-propelled projects reinforce and express positions and inclinations with regards to issues of social urgency, private introspection, or to the transformative qualities of physical space. As a foundation to the work, the studio considers the legacy of sacred space through the ages, in its most poignant and emotive terms, as well as the fundamental role of sound and acoustics in the creation of spaces of a sacred character.
Water and Interiors: Fluid Form and Design Innovation Filiz Klassen
The questions around conception of water responsive buildings, interiors, and material strategies that aim to ameliorate the local and global water ecology guide our studio discussions. With a research narrative related to Toronto’s water pollution issues ranging from the regional watershed to Lake Ontario, we challenge the design of interior water works such as water fountains, pools, water-walls for aesthetic reasons alone and incorporate sustainable design solutions of water harvesting, filtration, net-zero or net-positive strategies. Investigation of water and its therapeutic properties as a ‘creative, albeit, limited resource’ in interiors lead students to diverse spatial, surface or object scale of experimentations within the Ryerson School of Interior Design or other selected buildings as the project site.
Emotive Space Adam Kolodziej
We, the designers, are artists/philosophers of emotive space formation. We are the ones willing to explore and express the relations between human emotions and space within a spatial form. We are the ones willing to transform a physical or imaginary space according to our emotions, and to share it with others. Our creative decisions are based on the premise that all man-made spatial constructs should be responsive toward the complexity of our emotional structures. In a process of creating emotive spaces, we will address man’s growing concern with increasingly sterile and emotionless human environments. 12
STUDIOS
Fluid Forms in Practice Anamarija Korolj
Antoni Gaudí said, “The straight line belongs to men, the curved one to God.” This fourth-year interior design studio explores fluid forms and the unique challenges of dealing with expressive shapes. Curvature once posed a great construction challenge, but today’s digital tools make it easier than ever to create expressive forms. The question therefore is no longer simply “how to create a curve”, but more importantly questions “why?” and “what makes this curve worthwhile?". With smoothness and curvilinear forms are often found in experimental and avant-garde projects, this studio examines the functional and aesthetic future of interior design.
I/O
Shai Yeshayahu I/O studio immerses students in pursuing fluencies that transform the use and applications of physical computing to become a platform that tests design ideas related to the theme of surface activation in the public domain. It includes; acquiring skills to use Arduino microcontrollers, to interfacing between sensors and actuators, as well as to be able to sense and respond to the physical realm. The intent is to design and fabricate interior experiences that re-think future knowledge systems by accounting for the type of dialogue -whether cultural or social- they hope to provoke. 13
Ryan Anning
Ryan’s zeal for design runs deep alongside a need for reason and justice; qualities that provide a lens to focus his creative energies. He believes a holistic understanding of a project is crucial to its success, and as a result, his design language extends to art, architecture, psychology, and history, ranging medieval through mid-century and beyond. At Ryerson, Ryan has had the opportunity to explore a hands-on approach, expanding and cultivating his interests to include the design of furniture, lighting, and products. He strives to be a passionate designer, and creator.
ryan.lee.anning@gmail.com @ryan.lee.anning www.linkedin.com/in/ryananning ryananning.com 14
ANN ING course code irn 800
Catenary Curve
The notion of ‘unplugging’ as shorthand for relaxation has sprung from the omnipresent digital connections that have become an integral part of contemporary life. However, just as disconnecting a spent battery will not replenish its electrons, neither will the absence of a stimulus necessarily recharge the mind. What is needed, is the non-digital. Curvilinear forms invoke the energy of nature; its growth, patterns, and flexibility. They are a connection to the fascination elicited by waves rolling ashore, trees arcing in the wind, and the curl of flame. Both they and television can fixate their observer, but only one continues to drain. By tapping into these primal connections and bringing them into the built space, this restorative power can be exploited. The places we inhabit can be not just refuges, but havens in which to refuel. 15
“The movement from a view of life as essentially simple and orderly to a view of life as complex and ironic is what every individual passes through in becoming mature. But certain epochs encourage this development; in them the paradoxical or dramatic outlook colors the whole intellectual scene... Amid simplicity and order rationalism is born, but rationalism proves inadequate in any period of upheaval. Then equilibrium must be created out of opposites. Such inner peace as men gain must represent a tension among contradictions and uncertainties... A feeling for paradox allows seemingly dissimilar things to exist side by side, their very incongruity suggesting a kind of truth?� -August Heckscher
Fluid Forms: Catenary Curve
64"
109"
39"
01.
02.
03. 16
The scope of this project was to devise a real-world object inspired by curves; taking advantage of modern software and algorithms that have allowed for the creation of forms heretofore prohibitively difficult to produce. A known space was chosen to house the intervention in order to provide a contextual starting point from which to explore and grow. The paradox of choice. As a ‘curve’ is such a free form, and conceptually limitless, the question of “why” was key to this process. The boundaries created by this question served to drive the progression of the intervention in a rational way, and defined a directed tract that guided exploration and creation.
04.
05.
The material was inspired by Gaudí’s approach to the Sagrada Familia. In this case however, the curves created by chains hung horizontally would be articulated by chains hung vertically; using the tool to display its results. 06.
UP
07.
Polished silver, gold, and copper chains were employed hierarchically for the concentric cell divisions when seen in plan. Their colours interweave when surveyed by the eye, creating a warm kinetic sparkle and glow, like the flicker of flame, or a sunset through autumn leaves. 01. Supine 02. Dimensions 03. Full Rendering 04. Material Selection 05. Form Derivation From Catenary Curves 06. Concentric Cell Division and Extrusion Logic 07. Contextual Plan
17
Fluid Forms: Catenary Curve
The chosen space was the attic area of an Edwardian four-square in Toronto, where a light source was requested. Taking a cue from Robert Venturi’s “Complexity and Contradiction in Architecture”, the decision was made to capitalize on the existing conditions instead of simply applying a design. Bulkheads covering beams were to form the anchor points for the intervention, articulating first a departure from and then return to structure. Two catenary curves were used to form a surface that had a natural drape to it, highlighting the relationship with gravity, and invoking the protective nature of a willow’s branches.
Clair Balkowski
Hello! I can honestly say that it has been a very enriching and wild four years. Having the experience to participate in the exchange program to the Technological University in Dublin, as well as RSID’s Cortona Italy Summer Intensive, I bring a versatile interior design perspective. It is with immense joy that I consider myself a culturally influenced designer whose travels have brought about a sense of diversity and global influence to my work. It has been the experiences that have stemmed from travelling to over 30 different countries and cultures that have pushed me to explore and blossom my passion for design.
clairinteriordesign@gmail.com @clairinteriordesign www.linkedin.com/in/clair-balkowski clairinteriordesign.com 18
BALK OWS KI course code irn 800
Di Resposte Madona Del Monte - Venice. The ruins that are being eaten away at by the natural distruction of water. The errosion of the building and the raw appearance to the decay of the ruins features a chaotic line similarly to the chaos of the ocean that consumes it. Line represents a wave of decay. The wave of emotion through this linear appearance, creates the vision for the repurpose of the space. Di Resposte ... 19
Emotive Space - Di Resposte
01.
02. 03.
04.
20
My site is located in the Laguna of Venice, Italy and is situated within the walls of a ruin, on the Island of Madona Del Monte. The abandoned ruin that lies on the island, is forever forgotten and faces decay casused by the erosion from the salt water that surrounds it.
05.
The focus of the erosion of the ruin and the raw appearance to the decay of its once prominent features allows one to view the chaotic line the decay creates similarly to the chaos of the ocean that consumes it.
06.
07.
08.
As each user embarks on each level that has been created from a manipulation of a line segment from the existing ruin, the experience is created. Starting with the Depressed View in Fig. 6where the line revises the placement of a sunken version of the ruin- shows the entrance, uneven seating and standing space, as well as a direct sight line toward the mote and stage. In Fig. 7 the segment of the line has been altered to become the second level of the envisioned design. This level allows for partial view of the stage, and allows for gesures like lying, crouching, crawling to find a spot that suits the users comfort. This is called the 'Optimal View'. Finally, users will be encouraged to go to The Relief, (Fig. 8) that completely blocks the rest of the ruin, including the stage, and allows the users to have a moment of relief. This view will allow for users to embody the island as if there was nothing but sky and sea, as if the island was forever untouched. 01. Plan View -rendered to view the land & design 02. Interior Render -from entrance of depressed view 03. Section Diagram - all three levels 04. Section Render - depressed, optimal, relief view 05. Defining Levels - constructed from line segments 06. Depressed View 07. Optimal View 08. Relief View
21
Emotive Space - Di Resposte
The line symbolizes a wave of decay, and pushes a emotive presence, though this linear appearance that then creates the vision for the repurpose design for the space. The line of decay emulates the stages of the three part design development. Introduced in Fig. 3 the image shows three lines. Further explained in Fig. 5 for the idea of each view the users will experience through their time at Di Resposte.
Megan-Shine Barrientos Aspiring to be a prominent designer, I make the effort in every project to make its final design a unique and marvellous experience. My work fixates on the potential forms in architecture, and the sequence of colours that can define a person’s lifestyle. The past four years in design school have taught me that a good concept can make the most meaningful spaces...that and to always keep some spicy cup noodles at your disposal.
m.shinebarrientos@gmail.com @megan.barrientos linkedin.com/in/megan-shine-barrientos/ 22
BARR IENT OS course code ide 301
Opulent
Using one shape to form this furniture piece, Opulent is an elegant chair- with a minimalistic form, and a textured personality. Opulent is a reflection of architecture through the lens of contemporary shapes and patterns. The chair is structured by cutting through and using one shape repetitively. Moments where this one shape overlaps with one another, are noted by different stone patterns. Opulent was intended to be a lightweight chair, with a “heavy faced material”. The beauty of the chair emphasizes the idea that laminate can bring brilliant pieces of work to life, that “natural materials” could not replicate. 23
Opulent
01.
02.
03.
04.
05. 24
Opulent
06.
Frame pieces were formed and structured using a 3d modelling software (Rhino3D), then routed on a CNC machine. After carefully planning the canvas’ patterns on Adobe Illustrator, each piece of stone laminate was cut precisely by a laser cutter. Steps of applying laminate on the wooden frame and canvas were taken in advance to not reveal its joinery. Afterwards, the chair is routed with a palm router to trim out any excess laminate, and smooth out edges. The chair becomes a fine example of a project designed and constructed using modern technology.
07.
01. Frame Construction 02. Canvas Construction 03. Chair Assembly 04. Elevation & Plans 05. Studio Photoshoot 06. Close-up Photoshoot 07. Canvas Pattern
25
RĂŠmy Bles
I have always been a visual and creative person long before I started University. Growing up, I was constantly consumed in artistic and creative endeavors within a restored mysterious 150 year old farm house. Because of this, I am passionate about historical architecture, and restoring the old with the incorporation of a modern, yet unique touch. Art and design are some of the most important elements in my life; they have helped me in more ways than I can express. I feel strongly that every part of our life is a piece of artwork, from the food we eat to the facial expressions we make. With the help of Ryerson School of Interior Design I have found my passion for historical and whimsical design that allows for one’s imagination to run wild.
remygertrudables@gmail.com @remybles linkedin.com/in/remy-bles-747475172/ remybles.myportfolio.com 26
BLES course code irn 800
Fear for the Loss of Imagination
An Emotive Space that helps regain fragments of one’s imagination, that has been either lost or forgotten. What is Emotive Space? This was the question we were asked abruptly when discussing the project syllabus. The great part about this question was that it was completely personal, and direct to what you have experienced in your own lifetime. Each student came about with their own personal approach to what an emotive space meant to them, and not one person was wrong. I thought long and hard and came up with a concept that related to my love of art. This was all wonderful and such but it didn’t feel entirely truthful. I kept digging. What I eventually came up with was the ‘Fear for the Loss of Imagination’. Now this concept is not completely separated from my love of art, because my artistic endeavours are what bring me back to my imagination and childhood dreams. For many years I felt that I lost my imagination in the heat of technology and the modern world. I realized, once I found it back, I was afraid of losing it once again. But what I learned is that we are on a constant roller coaster of life and will occasionally regain fragments of our childhood back. But, they won’t always remain there. That’s why I wanted to create a space that people could travel to, to feel as though they are stepping back in time or flying through their childhood dreams and imagination. The Isola Madonna Del Monte is an island off the coast of Venice and is home to a tired old building that has lived through many decades. It is the perfect location to create a world of whimsy. 27
Fear for the Loss of Imagination
01. 02.
03. 04.
VIDEO
05.
28
Once the travellers have left the tiny rugged boat they left Venice with and stood afoot the Isola Madonna Del Monte they would see a large rounded entrance within a deshambled brick wall. It stood lifeless in front of a very large brick structure that was covered in ivy. Entering this structure they are welcomed very grumpily by a man that looks too old for his own good. Yet, he walks down from his very tall stool and leads them through to the other side where a large growing tree sits awaiting its visitors. But wait, the tree has a door. And the door leads them to a topsy turvy staircase, further leading them to several topsy turvy rooms with all sorts of whimsical elements. Once leaving this very large and very odd tree, the travellers feel as if they have time traveled back to their childhood, and leave Isola Madonna Del Monte confused (about the tree) but utterly and unquestionably happy.
07.
01. Process Image : Clay Brick Application 02. Process Image : Built Form 03. Process Image : Foam and Clay Tree Uncarved 04. Complete Form 05. Video of Complete Form 06. Complete Form 07. Glimpse of the Sun Cascading in
29
Fear for the Loss of Imagination
06.
Brittany Boudreau
Sitting in a laundromat in Reykjavik, Iceland, Brittany Boudreau had an epiphany: she decided to quit her job as a hospital social worker and pursue a degree in interior design. No one really wants to sit in a laundromat, but Boudreau realized that the design of that particular space was so pleasant that she actually wanted to be there. The idea of designing spaces that made people feel better set her life into a different trajectory. She is now exploring the fun, colorful and playful side of design.
britt.j.e.boudreau@gmail.com @brittany_boudreau_design linkedin.com/in/brittany-boudreau-2714091a1/ 30
BOUD REAU course code CUBE : Creative University Box Experience
irn 700
Every time we have an experience, we learn something from it. The word experience has changed the way we approach learning, both in the field of education and in the design of museums and galleries. Once static repositories of artifacts, museums and galleries have adapted to not only display objects but to also educate dynamically by providing experiences where individuals and groups can interact, engage, and connect with learning. Learning is an endlessly recurring cycle. As students and faculty members move between the three floors of NEXT HUB, a small extension of NEXT University located in Washington, D.C., they will be experiencing the four phases of the experiential learning theory: concrete experiences (feeling), reflective observation (watching), abstract conceptualization (thinking), and active experimentation (doing). By using this theory and approach to learning as a base for the design and with open floor plans, glass partitions, and student work galleries, NEXT HUB will put its different creative educational environments, student learning, and their work on display. Thesis Question: The goal of NEXT HUB is to put learning on display, like an art gallery. How is it possible to design one interior environment that has different creative spaces within it? The overall concept of CUBE is to create smaller spaces within a larger interior environment through the use of four different creative boxes. When closed, these boxes look like giant 3D cubes, allowing the interior environment to be used as an event space. When these creative boxes are open, they expand into unique spaces that will accommodate different creative activities and all their needs. 31
CUBE : Creative University Box Experience
FEELING WATCHING THINKING DOING 01.
Each box is designed specifically to meet the needs of the creative activities that are enclosed within the space. Lighting, colour, materials, acoustics and human factors were considered when designing each of these 4 creative boxes. The ‘Feeling’ box unfolds to reveal an immersive gallery space. The ‘Watching’ box allows for self-reflection and observation. The ‘Thinking’ box is for teamwork and collaboration. The ‘Doing’ box is for hands-on fabrication. Light projections provide visual cues as to how to open and close the boxes. Through using these 4 unique boxes, CUBE creates a flexible, adaptive, and accommodating environment where the students and faculty of NEXT HUB can easily transition between the phases of learning. 01. Renderings of the Student Gallery, Classroom, Makerspace, and Learning Commons 02. 9th, 10th 11th Floor Plans 03. Section 04. Rendering of the Doing Box Closed 05. Rendering of the Doing Box Open 06. Feeling Box Details
32
02.
03.
06.
33
CUBE : Creative University Box Experience
05. 04.
Danielle BrathwaiteLynch
Hi, my name is Danielle Brathwaite-Lynch. I’m an enthusiastic, detail-oriented junior designer with a background in both architecture and interior design. I am pursuing a career in either interior designing or as an art director. I’ve successfully completed my undergraduate degree with a Bachelor’s in Interior Design.
dblynch93@gmail.com @danielle.blynch linkedin.com/in/danielle-brathwaite-lynch/ dblynch.myportfolio.com 34
BRATH WAITE LYNCH course code
Water Ecology and Interior Design Innovation - Fluidity
irn 800
Rainwater harvesting is emerging as a sustainable strategy to cope with the pressure of the increasing scarcity of freshwater sources. The key to the design “Fluidity” is to collect and store the rainwater, but not obstruct the beauty and history of the Power Plant building. To achieve this, a rainwater collection tank will be installed at the top of the roof which will collect rainwater to be distributed within the Power Plant. The collected water will be filtered before being used. This water will be utilised in the interiors both with the water feature and also as potable water within the Power Plant. The design has also taken into consideration the used water, which will be filtered and then released into the lake. The collection and storage of rainwater harvesting is the future for humankind.
Why fluidity? It means the ability of a substance to flow easily, smooth elegance or grace. The water feature adds these traits to the power plant. The overhead water feature can be seen from the foyer which is shared between both the Power Plant and the Harbourfront Center Theatre. The linear design of this water feature mimics the linear flow of water itself. The source of the water feature is derived from the rainwater collection- whose filtered water is used throughout the building as well. The living wall adds some year-round greenery to the foyer. This plant wall feature also uses the filtered water. By having the filtration room exposed by a glass façade, it allows the people in the lobby area to understand how water harvesting works, why it has been implemented within the power plant and the importance of doing it. The glass façade also projects a film on it which further explains the process ranging from the collection to the distribution of the water. While one is enjoying the elegant overhead water feature, they are able to appreciate it more by understanding the why of it. 35
Water Ecology and Interior Design Innovation - Fluidity
01.
02.
01.Plans/Sections 02.Live Wall Render 03.Lobby/Waiting Area Render 04. Exploded Axonometric
03. 36
Water Ecology and Interior Design Innovation - Fluidity
04
Utilizing the existing skylight helps the reflection of the water feature to penetrate throughout the space. One can enjoy the water feature from both floors. The first floor of the exhibition space has a pond where one can sit on the edge and look up and enjoy the water feature above. On the second floor one can enjoy the skylight. The water feature mimics the lake, as was used in the case study at Biesbosch Museum Island where they connected the outdoors with the indoors by running the pond from the outside straight into the lobby area of the Museum. 37
Victoria Bruno
I’m Victoria- an eternally curious designer & visual artist from Toronto, Canada. My interests include architecture and visual art, as well as industrial & interior design. A lot of my work is inspired by urban art & vintage film and fashion. I am a firm believer that great design breaks convention. Design school has taught me how to experiment with my ideas and turn them into a reality. Our environment has the power to shape and influence us throughout our lifetime. I want to create spaces that feel exceptionally unique and leave a lasting impression on the user.
victoriabruno.designs@gmail.com @victoriaabruno linkedin.com/in/victoria-bruno-1a247597/ 38
BRU NO course code irn 700
Apothecary
This dreamy and luxurious craft perfumery is located at Yorkdale Shopping Center in Toronto, Canada. With a strong focus on personalization, Apothecary offers a fully customizable perfumery experience to each customer. The interior was inspired by the brand and it’s icon- the ‘Black Swallowtail Butterfly’ chosen for its uniqueness, and it’s delicate yet edgy appearance. The space is designed to reflect it’s light and airy nature. The ceiling evokes a sense of enchantment, serving a double purpose as both a symbolic representation of the brand as well as an art installation that enhances the retail experience. Earth tones were used throughout the store to reflect nature, and minimalistic architectural elements along with strategically placed lighting create an emphasis on the product. Features: -Potion Bar / Perfumery -Private Consultation Room / Scent Studio -Skin Care 39
Apothecary
01.
02.
03.
04.
05. 40
Apothecary
06.
08.
07.
01. Site Plan 02. Exterior View 03. Reflected Ceiling Plan 04. Floor Plan 05. Interior View 1 06. Interior View 2 07. Fragrance Bar Dispensary: Detail 08. Interior View 3
41
Jenna Buchwitz
Originally from Calgary, Alberta, Jenna came to Toronto in 2016 to pursue design as a multidisciplinary artist at Ryerson School of Interior Design. Her interests lie in visual communication and a human connection, and how we can bring the two together. Through her research and projects, she explores new areas connecting art, design, and technology to pursue imaginative and innovative applications. Her future plans include beginning her Masters next year at Parsons in New York, and exhibiting projects at events such as Nuit Blanche.
jennabuchwitz@gmail.com @jen_doodles linkedin.com/in/jenna-buchwitz jennabuchwitz.myportfolio.com 42
BUCH WITZ course code irn 700
group members Duyen Nguyen, Sally Park, Soon Park
Memory in Suspension
What do we choose to remember? What is keeping these memories alive? How are memories constructed out of fragments of history? This proposal looks at these questions through the struggles faced by the first Chinese immigrants in Toronto when establishing a community. Sam Ching was the first Chinese immigrant to settle in Toronto, opening Sam Ching and Company laundry at 9 Adelaide East. However, very little information on these first businesses exist today. The laundry itself was a significant business, and many more immigrants after Sam Ching would follow suit in opening laundries, as they required little investment and the low pay and long hours of manual work left this industry undesirable to many. A layered enclosure presents a fragmented history of the first Chinese businesses, and the evolution of the spaces through time. The exterior of the installation begins at present day, with each layer becoming more obscured as time begins to overwrite history. Patterns made of voids in fabric hung on clotheslines are created from images and photographs from four moments in history, leading the viewer back in time to the very first Chinese business, constructed of a composite of records to rebuild a memory of this space which is remembered only in pieces. This three-dimensional store is suspended at the heart of the space within a stretched cocoon of fabric, dangling as if it could be dropped at any moment, signifying the fragile nature of memory. 43
Memory in Suspension
02.
03.
01. 01. Graphic void cutouts based upon four periods of time 02. Preliminary Chinatown East collage of awnings 03. 3D collage render of installation 04. Fabric elevation 05. Final fabricated installation
04. 44
Memory in Suspension
05.
Looking from past to present, the interior fabric first examines imagery of storefronts of the first Chinese businesses in Toronto. The next layers show the great Toronto fire of 1904, which destroyed some of the scattered Chinese businesses in the area. After the fire, the area went through a process of gentrification, which is reflected through aerial photographs from the 1950s cut into the fabric. The outermost layer shows the faรงades which line the present day courtyard where the first laundry once stood. A heartbeat made of light radiates from within the central store, marking the beginning moment of an entire future community. Even if not remembered, this memory will continue to be relevant in the creation of Toronto as it is today and the future of the city. 45
Conan Chan
As an aspiring space designer and vision enhancer, it has always been a passion of mine to design human-centric environments. People are emotional beings that strive for meaningful connections and so, impart traces of emotion in the space they inhabit. My vision is then to push the boundaries for new perspectives in the design of meaningful space. This on-going process has led me to develop projects which, through the concept of transformation, aim to introduce unique tactile and visual experiences for users. Spaces that can respond and adopt to the different living conditions of the users.
conandotchan@gmail.com @conandotdesign linkedin.com/in/conan-chan-/ https://conandotchan.wixsite.com/website 46
CHAN course code irn 800
Fata Morgana
What is time? But the existence of the past, present, and future. Our perception of time develops with experience, just like how our body naturally reacts and adapts to changing environments. Our various circumstances, upbringings, and understanding of time taught in educational institutions alter and cause us to perceive time differently from one another. This is most notable in extreme cases such as near-death situations where individuals may describe their experiences as a phenomenon of time slowing down, speeding up or even standing still. This accumulation of experiences and feelings ultimately dictate, or implicitly affect how we act and proceed in our everyday lives. Regardless of its influence, time has a way of leaving its permanent mark... Amongst the expanse of the Caribbean Sea, lays the uninhabited and lesser known island of Redonda. As the smallest of the three islands within the state of Antigua and Barbuda, there is much uncertainty that shrouds the mysterious origins of this distant piece of land. During the 15th century, Christopher Columbus was recorded to have first discovered and claimed the island for the Spanish Crown. While he had never set foot on land, he named it “Santa Maria de la Redonda” (Saint Mary of the Round in Spanish) simply as a reflection of its physical features. Similarly, many others have “claimed” the island and continued to contribute to the legend or rather myth, under the title “Kings of Redonda”. It was not until the 1860s, when the island fell into British possession that legitimate activity began to take place. At the time, Redonda was known for its abundance of guano (a courtesy of the various native and endangered seabird species) which were an excellent resource as natural fertilizers. During the British development, an attempt was made for the settlement of guano extraction sites; however, all operations were immediately ceased once the First World War began. (history continues onto next page) 47
01.
02.
Fata Morgana
The utter abandonment and lack of concern for the land was apparent in the remnants of fallen structures along with a plague of feral goats and black rats forsaken by British workers. Subsequently, native species such as the Redonda ground dragon, dwarf geckos and numerous seabirds were threatened and almost brought to the point of extinction by the invasion of foreign species. The lack of fresh water on land, rough terrain and natural steepness of the island meant poor vegetational growth; therefore, making it hostile to humans. While recent developments have shown drastic recovery and promising new conservation projects for the island, Redonda would continue to quietly bear the scars of its past like a ghost waiting in the distant. Alone and slowly forgotten... Fata Morgana is a protective barrier consisting of 37 individual walls, each with a certain amount of dwelling spaces. The height of each wall transitions between a maximum height of 150m to a minimum of 110m. These various heights give a unique outlook of the island from certain angles.
03. 48
04.
In one perspective, this barrier is like a response to the injustice of the world and abuse towards mother nature. To shield the innocent from the aggressors and to sustain a state of peace. In another perspective, the barrier turns what is known into the unknown, leaving the outsiders suspended in a state of confusion or for the better, curiosity. The island of Redonda is deeply enriched with mysteries and secrets of its past lost only in history. It is important to not ignore the fact that presentday Redonda only exists because of the traces of its past. Therefore, by continuing to strengthen the sense of mystery and myth surrounding Redonda, Fata Morgana seeks to draw significance to the island’s persistence through time and invite others on this communal journey of appreciation.
06.
01. Conceptual Sketch 02. Process Sketches 03. Exterior View 04. Interior View, Top Level 05. Interior View, Ground Level 06. Section
49
Fata Morgana
05.
The overall span of the barrier travels around 3700m along the perimeter of Redonda (a little over 60% enclosure) to prevent major island and wildlife disruption. The façade facing the water is cladded with mirror panels which reflect its surrounding environment. Particularly against nearby islands such as Nevis, Montserrat, and Antigua. This is in fact to mystify the presence of the island and stimulate a ghostly appearance from afar, seemingly blending it in with the horizon line. It is only when you approach the island, does the barrier begin to reveal itself through the distortion and dimensionality of the walls. In contrast, the façade facing the island is opaque while the form reflects the island’s angular features. The interior dwelling spaces and pathways are shaped around the cavities of the wall inspired by the eccentric dapple of water droplets left after a violent wave. Users have the chance to rest, meditate, connect with others, and enjoy the view in these spaces for the day. However, with narrow paths and few resting spaces, they must be constantly moving to accommodate new visitors and dismiss any sense of permanence and ownership. The rooftop is fully accessible and welcomes all users. Once on top, the boundaries which separate the world from the island becomes recognizable.
Averil Copp
Official graduate of the School of Interior Design Ryerson University, in Toronto Canada! I began my career working within the building material and construction industry where it sparked my passion for design and fine art. Through this work experience, I chased after my career at the School of Interior Design by building an art portfolio. My education at Ryerson University has allowed me to design multiple interior, architecture, and design projects at varying scales; ranging from furniture and lighting to large-scale residential, retail and commercial projects. Studying at RSID has also allowed me to experience job opportunities through a series of positions, at both architectural, interior design and yacht design firms in Canada, the United States and England. Until recently, when I had the opportunity to join Yabu Pushelberg’s team within their Toronto head quarters. My ethos lies in creating emotive design that goes beyond how something looks to how something makes you feel. Fine art, love of the water, personal relationships, travel, attention to detail, and always pushing for a new best inspire my work.
acopp@ryerson.ca averil@yabupushelberg.com linkedin.com/in/averil-copp-160ab3124/ fluidforms.wixsite.com/averil-copp 50
COPP course code irn 800
Boundless Fluidity: A Spa
Within southern California’s La Jolla Cove, a unique wellness center is located on the coastal cliff side. Designed specifically around sensory processing, sensual therapy and supportive ergonomics, this wellness spa aims to provide physical and mental therapies, utilizing the boundless fluidity of architecture and interior design. Inspired by the natural erosion process of the ocean, the interior offers a therapeutic, sensory focused design using proxemics and ergonomics of rock forms and water treatments to target the five senses. Furthermore, Boundless Fluidity showcases how an interior can support cognitive and physical health, going beyond how a space looks to how a space can make you feel. 51
Boundless Fluidity
02.
03.
01. 01. Ergonomic Studies 02. Floor plan & Concept Section 03. Interior View, Arrival 04. Interior View, Tidal Pool Detail 05. Detail Section 06. Detail Section 07. Interior View, West Facing
04. 52
Natural Rock & Plaster Natural Rock & Plaster
Steel Cage
Structural Foundation
Contour Lines
Paneling
Contour Lines
Paneling
Natural Rock & Plaster
Steel Cage
Structural Foundation
Natural Rock & Plaster
Steel Cage
Structural Foundation
Steel Cage
Structural Foundation
Contour Lines Contour Lines
Paneling Paneling
A A
A
A A
A
05.
C
C
C
06.
07. 53
Boundless Fluidity
C
Thanh Do
Thanh’s designs are vibrant and symbolic. Each project is an attempt to express her passion and philosophy through a bold choice of colours and forms. Every creation should have meaning, as it is the heart of a design. Thanh is eager to explore all the possibilities when intergrating technology into her design. Her vision is to push design above the limitation of reality, thus testing our imagination.
dothanh471995@gmail.com @thanh.do.ds linkedin.com/in/thithanhdo thanhdodesign.com 54
DO course code irn 800
Light in Hope
Light in Hope is a journey where visitors must face their darkness and find their light. This emotive space is inspired by the two following phrases: “there is always light at the end of the tunnel” and “there is no light without darkness”. The journey is designed specifically for Madonna del Monte, an abandoned island in Venice, Italy. Light in Hope is formed from three elements: the Darkness, the Neutral, and the Light. The darkness represents our despondent emotions or traumas, which are often well-hidden. In Light In Hope, the darkness is represented by The Sunken Place. Here, visitors must experience the feeling of disturbance and restlessness, thus triggering the urge for escape. Next is The Neutral Zone, where visitors explore multiple paths and observe various views in order to reach their destination. The final destination, which is the Light, abstracts the hope that can be found at the end of the tunnel. Light In Hope emphasizes the importance of having hope. It encourages people to not give up. No matter how difficult life may be, we must keep moving forward. The relationship between light and dark is another crucial principle of Light in Hope. Darkness is not necessarily bad or undesirable. It is always there, but we tend to be scared of it, thus avoiding it. Darkness is the other inevitable half of light. The terrifying darkness is the reason why light is so radiant and pleasant. Darkness will always exist in our emotions, but facing darkness is the only way to find the shining light. 55
The Sunken Place The Sunken Place, taking the form of a skull, represents the darkness and depression phase. This is the entrance of the space; it is the beginning of the journey. The skull allows visitors to experience the process of going into their minds and opening up their deepest emotions. Inside the skull, distorted human figures are found half-drowning in water and tangled in strings. These figures symbolize our chaotic minds, trapped, as if there is no escape from the darkness. The strings resemble the nervous system which controls our emotions and senses.
01.
Light in Hope
The Neutral Zone After escaping from The Sunken Place, visitors will enter the main exploration area, which is formed by a massive cloud structure nesting on the existing brick walls. The clouds are half-dark and half-light to represent the development of the journey. The red emissive wireframe contrasting with the dark solid metal symbolizes the co-existence of light and dark. If we search deep within the dark, we shall find light. Furthermore, the manmade wireframe structure represents light to illustrate that hope is earned, not given. It is created by our willpower. The human figures in the Neutral Zone are the very same as the ones found in the Sunken Place. However they are no longer distorted and parts of them emit light. This represents the darkness being purified under the waterfall. The purified figures then form stairways, creating multiple paths for visitors to continue their journey. There are different paths, which may be confusing, but they all lead to the same destination.
01. The Sunken Place/ Darknness 02. The Sunken Place/ Darknness 03. The Neutral Zone 04. The Paths 05.The Tunnel 06. The Oasis/ Light 07. Plan and Section
02.
03.
04. 56
The Tunnel Designed to express the idea of “there will always be light at the end of the tunnel�, the Tunnel allows visitors to immerse themselves into their surroundings, observing the prevailing emissive structure. The red emission illustrates the passion and feeling of being alive, as if the visitors are going into a beating heart.
The Oasis The clouds in the Oasis are no longer half-solid, but fully wireframed, as the Oasis is the destination where light is found. Although light dominates, darkness still subsists. as there cannot be light without darkness. The water pool in the middle represents relaxation and purification, as their journey has ended.
06.
07. 57
Light in Hope
05.
Giovanna Falzone
One main reason I decided to pursue Interior Design is because it takes my love for art and creating and allows me to apply it within a very practical sense. Personally, I think that great design can transform an ordinary space into one that is beautiful yet functional, ultimately improving the day-to-day lives of people. A dream of mine is for my ideas to make a difference in people’s lives, as the smallest design choice can have the largest of impacts.
giovanna.falzone@ryerson.ca @joannafalzone.design linkedin.com/in/joanna-falzone-144b30161 58
FALZ ONE course code irn 800
Toronto Transit Curve
The main goal of this project is to look at public waiting spaces and determine how they could be improved upon. Ultimately, the focus is geared towards providing individuals a more desirable level of physical comfort. This includes improving the atmospheric quality of Dundas station while utilizing all that the curvature has to offer. The redesign of Dundas station uses curvature to seamlessly integrate varying levels of lumbar support and seating heights in order to offer comfort for all individuals. In terms of addressing the atmospheric quality of the station, warmer tones have been applied in order to veer away from the existing cold and rigid interior- and to create a more desirable commuting experience. 59
Toronto Transit Curve
01.
14443 36274
13031
01. Main View Platform Rendering 02. Floor Plan 03. Seating Zone Diagram 04. Lumbar Support Diagram 05. Materiality Diagram 06. Project Materials 07. Secondary Platform View Rendering
6787
8800
The project location is set to be at Toronto’s Dundas subway station, which is located at the corner of Dundas Street East and Yonge Street. This is a highly populated area which is home to the Toronto Eaton Centre and Ryerson University. The design considerations aimed to improve upon the existing, highly used, subway station in order to create a space designed to improve user comfort. A driving force in choosing Dundas station as the project site was to use the organic curved form in order to juxtapose the lively, advertisement covered area that is Dundas.
02. 60
600
1200
600
600 200 600 200
1000
200 600 200 600
600
1200
Standing Zone High Degree Lumbar Support Mid Degree Lumbar Support Low Degree Lumbar Support
High Degree of Lumbar Support
Seat Level Transition
Mid Degree of Lumbar Support
Low Degree of Lumbar Support
Mid Height Seat Low Seat- Kids Zone
03.
White Powder-Coated Steel Inlay
Benjamin Moore Ice Mist 2023-70
Benjamin Moore Sunshine 2021-30
Laminate Sheet in Manitoba Maple with Standard Matte Finish
Wickes Metal Sheet White Powder Coated Aluminium
06.
05.
07. 61
Toronto Transit Curve
Pre-Fabricated Laminate Slats
04.
Lauren Fernandes
Pursuing a career within the arts has always been of great importance to me. I began my education at the University of Western Ontario studying Fine Arts. While studying there, I found that I had a passion for being able to apply my creativity to real life instances; leading me to Interior Design. While studying at the Ryerson School of Interior Design, I have been able to bring my creativity to life in this always evolving field. My personal motive is to create user friendly environments that are both functional and creative. I am proud to begin my career in Interior Design as it will continue to push me to create new and innovative solutions that will allow me to grow as a designer.
lmfernandes.id@gmail.com @lmfernandes lmfernandesid.wixsite.com/portfolio linkedin.com/in/lauren-fernandes-b31a9b170 62
FERN AND ES course code irn 700
Mirage
Mirage: defined as an object that is illusory, yet without substance is a conceptual and atmospheric exhibit. It is designed to be displayed in the Malcove Collection to evoke feeling, emotion and memory. Through the use of lighting and materials, this gallery exhibit creates an atmospheric interior that is almost figmental and dreamlike. Technology is used to create a figure that forms a contemporary response to a series of works in conversation with one another that was studied and produced throughout the term. The idealization of an apparition is unlocked in a 21st century take on the concept of perception and reality. Triggering emotions and memories, the viewers are given the opportunity to identify the figure as an illustration that resonates with them. Divided into three distinct parts, Mirage is one piece of a cohesive series developed throughout the semester which studies the relationship between past works of art from the 15th century and modern techniques of the 21st century. This series also focuses on composition and the understanding of how typologies work together to form one body of images.
The first and second part of this process was to select and study one work found in the Malcove Collection in Toronto, Ontario. Then, to dissect the piece into individual typologies that physically show the working components which make up the work of art using the understanding developed throughout the study. The selected work is a 15th century stained glass piece called ‘A Vision to a bishop of God the Father, Surrounded by Angels’ where I was immediately engaged by the use of vibrant colours and the idea of a story being told through the composition of broken glass. The ideal way to showcase these typologies was inspired by Marcel Duchamp’s portable museum; ‘La Boite-en-valise’. Typologies and production methods used speak to the concept of the past and the present in a modernized way of recreating this artwork. 63
Mirage
01
02.
03.
04.
05. 64
Mirage
06.
To further my study of ‘A Vision to a Bishop of God the Father, Surrounded by Angels’, part three is where Mirage was developed. Through techniques and concepts used and studied through the process of the previous developments, Mirage speaks to a 21st century embodiment of an apparition; a ghost-like figure. This work ties the series of works together by showing the progression from a past piece from the 15th century, to new and innovative techniques and concepts displayed to portray a complimentary concept and to evoke similar feelings of memory and emotion. The composition of the exhibit in the Malcove, creates an effective conversation between the three works that allow the viewer to visually perceive the desired themes as one cohesive series.
07.
01. Mirage Gallery Exhibit 02. A Vision to a Bishop of God the Father, Surrounded by Angels 03. Typologies Process 04. Mirage Bust Form - Perspective 05. Bust Form Line work 06. Mirage Bust Form - Front 07. Exploded View of Bust Construction
65
Myiah Fluke
A designer, artist, and avid creator; Myiah considers herself to be a bit of a philomath; always seeking to learn and develop new skills. She draws much of her inspiration from the observation of human behaviour, nature, films, music, heritage homes, and soft colours. The presentation of her work typically explores hybrid art forms, incorporating both digital and manual elements. Myiah intends to introduce purpose and inspiration into people’s daily lives by designing for wellness and personal growth. Her passion lies within the residential, retail, and small-scale hospitality sectors. With more than seven years of experience working as a colour consultant with Benjamin Moore, Myiah is well acquainted with the theory and application of colour - a critical element when designing for wellness.
myiah.fluke.mail@gmail.com @myuhdesign myiahfluke.design linkedin.com/in/myiah-fluke-3b793a107 66
FLUKE course code irn 700
Steelcase NextHUB
Steelcase NextHUB is a cutting edge higher education learning institution located in Washington, DC. The overall goal of the institution is to reach a larger urban population, providing an alternative space for students of all ages and backgrounds to gather, explore, connect, and engage. In an effort to accomodate different learning styles in order to drive personalized learning and self growth for students, NextHUB will be designed to mimic three different biomorphic atmospheres and the circadian rythm. They are as follows: 1. Bright, social, and lively. This space will accomodate students who thrive in a bustling atmosphere, surrounded by like minded individuals who seek to share their knowledge and experiences. Imagine setting yourself up for a day of studying at the beach. 2. A calm, soft, transitional space. This space will provide in-between waiting / quick study space for students. It also acts as a main circulation space. Imagine setting up to read a chapter or two on a river-side bench shaded by trees in a relatively bustling park. 3. Cozy, sheltered, and independant. This space is for students who work best in quiet, personalized environments. Booth seating and a variety of work spaces will become critical in design solutions. Imagine studying deep in the forest with nothing but rustling trees and the occasional squirrel to bother you. NextHUB wants to see each student grow, thrive, and achieve greatness within the new learning space. 67
Steelcase NextHUB
01.
Seen in the ninth floor plan (top right), the tutor hub provides study space for a variety of users and acts as a barrier between the social and independent study areas. On one side, benches run the entire length of the hub, providing transitional seating for those waiting for classes, tutor sessions, etc. On the opposite side, recessed cubbies act as study coves for those seeking a sheltered study experience. Each end of the hub includes a recessed booth for small group study sessions, while the interior of the hub houses two small private tutoring rooms that can accommodate up to six people. 68
02.
Steelcase NextHUB
03.
01. Elevations of 9th Floor Tutor Hub 02. Floor 9; Steelcase NextHUB 03. Floor 10; Steelcase NextHUB 04. Floor 11; Steelcase NextHUB
04. 69
Ilanit Frolov
Four years in design school has taught me to be a fearless creator. Through the program, I have become a multidisciplinary artist and designer with a love for graphic, product and furniture design, as well as architecture. My multiple passions prove to encourage unusual designs that are not limited by their own respective framework. I am inspired by vintage cinema and graphics, and am always excited to try something new. I want to create spaces that emulate dreams and that have only ever been seen within our own imaginations.
elanit.frolov@gmail.com @if.casestudy linkedin.com/in/ilanit-frolov-a0056410a 70
FRO LOV course code irn 800
The Odyssey
What is sacred space? By definition, sacred means: connected with God or dedicated to a religious purpose and so, deserving veneration. It also means: worthy of respect or dedication. By these two definitions, it is obvious that sacred spaces are highly important. They can be religious, but they can also be spiritual and emotional spaces that deserve reverence. The Sacred Space studio questioned what kind of spaces would qualify to be considered sacred. This meant that the project’s representation of sanctity was built around the developed understanding of what sacred space meant to me. It was important to approach the project from a secular point of view, because there are many spaces which hold high value due to their emotional effect on the user, that are void of religion, and even sometimes a specific purpose. The approach began considering the intended feelings in this sacred space which were: peace, calmness, and serenity. The intended goal was to allow users of this space to enter it, and forget the outside world’s existence. To allow oneself to be completely immersed in a strange, and unpredictable environment which encourages exploration and play. The project was designed in two phases which regulate the way a user may travel through the space, and how they engage with it. The project is titled 'Odyssey', meaning an intellectual or spiritual wandering or quest, in other words- a journey of self discovery. This was the exact intention of the project. To make users feel that they have, in some sort of way, found themselves within this space. The Odyssey is an experiential, and sacred art installation on the tenth floor of the MoCa Toronto building. It is structured into two phases through which the user moves through and comes to a final arrival point. The project plays with contrasting spaces which in turn, force a contrast of emotions within the user themselves. As they enter the first phase, they may believe they have entered some sort of playground, yet as they proceed to enter the chambers, they realize they are somewhere else entirely, and arriving at the final point is a cathartic realization of arrival, and release. 71
the odyssey
01.
02. experience one
suspended bulkhead transluscent fibreglass skylight
experience two
transparent glass skylight exposed concrete ceiling
c
b
transluscent glass skylight
The Odyssey
a
a
b
c transparent glass walls
03.
04.
05.
06.
07. 72
08.
transparent glass skylight
transluscent glass skylight
10th floor
09. Suspended Bulkhead
Primary Chamber
Secondary Chamber
Supporting Columns
The second phase is an arrival point. Users enter through two circular chambers which lead them around and into the final space. This space is a large courtyard with a transparent skylight, which makes the users feel as if they are in a secluded portion of the world. This point or arrival allows them to feel free, and at peace, as peace is the most sacred of all emotions. These two phases tell a story to the user; that life, with all of its turbulence, can still be a beautiful thing worth appreciating, despite the hardship along the way. Should the user allow themselves to be immersed, they will leave this experience feeling fulfilled and free.
Exterior Walls
Circular Landings at Various Levels
10.
01. Site Plan 02. Project Location 03. Floor Plan 04. Reflected Ceiling Plan 05. Section B 06. Section C 07. The Field - Phase One 08. The Courtyard - Phase Two 09. Section A 10. Exploded Isometric Drawing
73
The Odyssey
9th floor
The first phase encourages exploration, and escape. The first portion of the journey allows users to play in the varying levels of hill-like structures which rise and fall in various ways. Users can walk around them or sit inside them. This portion of the journey is to embrace the space, and allow oneself to be in a dreamlike state where nothing is real.
Candy Fung He
Throughout her time at RSID, Candy learned to critically analyze all factors that form an interior. She believes that research and observations are the grounding elements that help enhance the experience between the user and any space. During her undergrad, she discovered her passion for commercial interiors, exhibition and installation design. In the future, she wishes to further explore these sectors where she can create interiors that accommodate to the patterns of human behavior and their interactions. As she completes this chapter, she would like to thank her RSID home and studio couches for all the support throughout these sleepless years.
candyfh78@gmail.com @candyfunghe linkedin.com/in/candyfunghe candyfunghe.wixsite.com/portfolio 74
FUNG HE course code irn 800
Fluid Tunnel Intervention
Due to the lack of visual distinction between the two paths of travel, commuters are unable to efficiently walk from Union Station to the Go Station. This project studies how fluid forms can alter human behavior and create an environment that better accommodates the flow and unexpected paths of individuals. This is achieved through the introduction of a floor to ceiling intervention that combines wayfinding into fluid forms to create a more adaptable pathway between the two destinations. This proposal emphasizes wayfinding through the use of form- the sides and the legs of the interventions resemble an arrow to act as a visual element that points visitors to the correct path of travel. Lights have also been integrated into the side fins and the legs to further accentuate this visual guidance. The repetition of these elements creates a surrounding effect that reminds visitors to be mindful when traveling and to follow the direction of the path. These forms also serve as quick resting areas for those who need to stop momentarily without having to hinder the rest of the public. In order to prevent the intervention from becoming a third tunnel to walk through, a progression of forms in various sizes was introduced. These become gradually smaller near the ends and eventually inhabitable. Fig. 02. Common Issues Observed During Site Visits: 1. People are walking in all directions as there is no visual indication of directionality. This slows down traffic and causes people to collide into each other more frequently. 2. Being slowed down by an individual ahead of you when rushing to your destination. 3. Worrying about being a nuisance to others when you need to make a quick stop (e.g. to greet an acquaintance you bumped into, check for directions, etc.). 75
B
DW
GO STATION AND YORK CONCOURSE
DW A
STREET LVL
01.
1. WALKING 1. WALKING AGAINST AGAINST CROWD THEAGAINST CROWD DURING DURING RUSH HOUR RUSHDURING HOUR RUSH HOUR 1. THE WALKING THE CROWD
3. STOPPING 3. STOPPING ABRUPTLY ABRUPTLY 3. STOPPING DUE TO DUE PEOPLE ABRUPTLY TO PEOPLE AHEAD DUE AHEAD TO PEOPLE AHEAD
2. WALKING 2. WALKING BEHIND BEHIND 2. A WALKING DISTRACTED A DISTRACTED BEHIND PERSON A PERSON DISTRACTED PERSON
02.a
Fluid Tunnel Intervention
02.b
02.c
03.
The interior of the tunnel is mainly constructed of reflective metal sheets, tiles, and concrete. The metal sheets were applied to the ceiling to reflect the arrowlike floor lights and to further enhance wayfinding. Tiled walls and concrete flooring were both chosen as they are durable and easier to maintain in public areas that encounter a high traffic volume. Also, due to the location of the tunnel, a collaboration between local artists has been proposed to create a graffiti niche that reflects Toronto’s unique urban setting. *A collage of works from urban artists: Ben Johnston and Jill Stanton, were used for the renders.*
3� WIDE CURVED COLD ROLLED STEEL FRAMING
3MM WATER JET CUT ALUMINIUM SHEET
3/4� PAN HEAD SCREWS TO ATTACH ALUMINIUM SHEET ONTO STEEL FRAMING
1� LED LIGHT STRIP RECESSED INTO FIBERGLASS FINS
PREFABRICATED WHITE MOULDED FIBERGLASS SHELL
04. 01. Floor Plan 02. Diagrams of Common Issues Observed 03. Longitudinal Section A 04. Construction Diagram of Form 05. 3D Printed Models 06. West Facing View of Tunnel From Niche 07. East Facing View of Tunnel 08. Exploded Axonometric Diagram 09. West Facing View of Tunnel
05. 76
1
1
2
3
SINGLE OCCUPANCY (WIDTH OF 5’-4 1/4”)
2
4
4
1
GROUP OCCUPANCY (WIDTH OF 9’-3 3/4”)
2
PAIR OCCUPANCY (WIDTH OF 7’-4 1/2”)
3
SINGLE OCCUPANCY (WIDTH OF 5’-4 1/4”)
PAIR OCCUPANCY (WIDTH OF 7’-4 1/2”)
NO OCCUPANCY (WIDTH OF 3’-4 1/4”)
4
07.
NO OCCUPANCY (WIDTH OF 3’-4 1/4”)
08.
09. 77
Fluid Tunnel Intervention
3
GROUP OCCUPANCY (WIDTH OF 9’-3 3/4”)
3
4
06.
1
2
Kaashif Furquan
When we started the program, our knowledge of design was at a rudimentary stage; limited and underdeveloped. My personal interpretation of design was focused on surface level ornamentation that had no purpose or depth. As I complete my degree, my approach to design has become increasingly analytical, refined and precise. Personally, design is intuitive while taking risks. It is an instinctive feeling in response to understanding something immediately and then, acting accordingly. It is making bold moves through subtle gestures. It is less about being visibly invasive and more about being immersive. Design is ultimately where emotion and art coincide.
m.kaashiffurquan@gmail.com @kaashiffurquan linkedin.com/in/kaashif-furquan-b6a3b7191/ 78
FURQ UAN course code The Innovation & Archival Center of the Arctic
irn 800
What began as an initial source of inspiration, slowly became the epicenter for this project; Northern Canada and the Arctic. The ice-laden region encompasses much of the territories, in particular Nunavut- a popular destination for Arctic cruise liners to dock amongst palatial fjords and glaciers. As picturesque and serene as these sights may seem, these cruise liners are detrimental to the deterioration of the Arctic. Informed by the natural world, 'The Innovation and Archival Center of the Arctic' aims to educate visitors on the effects of climate change especially in the Polar North. This is done through a dedicated memorial whilst also housing sustainable agricultural research facilities with greenhouses and hydroponic farms that provides food and job security to neighbouring communities. This will open up the discussion to initiate a new industry to Nunavut’s economy. The center will include an archival facility for visitors to learn about the historic native Arctic living using artifacts and exhibitions. Created for a unique landscape, the campus will sit on Jericho Diamond Mine. A dormant mine in western Nunavut accessible by air and road. Using the current paths and roadways as divisional boundaries, the campus will be broken up into two structures -the memorial and the innovation/archival hub. 79
One of the largest effects of climate change in relation to the Arctic is the continuing rise of the sea levels. The majority of the structure will be encapsulated by the sediments of the mine, except for the south façade. Part of the south façade will be submerged in the mine’s collected water and as visitors make their way down into the depth of the cold earth, it will give them the sensation of the water level rising. Fig 02. 1)Memorial, 2)Archive, 3)Research Facilities, 4)Housing Quarters
elements of glaciers Cirques Deformation Weight Water
1. Memorial*/2. archive/3. Research facilities/4. housing quarters 1. Memorial*/2. archive/3. Research facilities/4. housing quarters 1. Memorial*/2. archive/3. Research facilities/4. housing quarters
With an emphasis on the memorial, the building will be buried along the contours of the dormant mine on the north side advantageously facing south to bask in the southern light. The structure of the design is inspired from glaciers and icebergs. One of the main overlooked characteristics of glaciers is its size. 30 percent of a glacier is above water, while the remaining 70 percent continues deep into the ocean’s abyss. This is why the structure will be buried 100 feet into the mine’s sediments as visitors will be able to physically feel the depth of a glacier.
weight
The Innovation & Archival Center of the Arctic
01.
1
4 4
1 1 1
4
3
3 2 3 2
1 1
2
02.
elements of climate change Rising sea levels Melting glaciers
sea level
03. 80
350 meteres
150 meteres
location of memorial
Jericho mine Jericho Mine was the first diamond mine in Nunavut and Canada’s third mine. The mine was originally owned by Tahera Diamond Corporation until after its 2008 bankruptcy that it had to sell in 2010 to Shear Diamonds Corporation. It is located 420km northeast of Yellowknife and its closest community is Bathurst Inlet. The mine has been dormant since 2008 as Shear diamonds had limited funds and needed significant operations to reopen the mine. The depth of this mine in total is 350 meters, however it has decreased since its decommission as it has been partially filled back with sediments and collected water.
nts*
04.
cirques
form & Structure The main innovation/archival hub takes the form of a basin found in glacial cirques. Cirques are bowl-shaped depressions similar to amphitheaters that glaciers carve into sidewalls of valleys and mountains. The form of this superstructure needed to be fluid, but at the same time exuberate a sense of dominance, strength and mass. One would think the structure is a fluid bowl, however only in plan will the structure show its imperfect ellipse shape.
roof silhouette
The roof of the structure will be smooth as it slightly dips towards the west façade. This gesture symbolizes the conceptual motion of a cascading waterfall/ snowfall sliding off the roof into the mine. As the mine is now dormant, there is no action for it other than filling itself in rain and snowfall. This literal interpretation of runoff snow is similar to the action of melting glaciers increasing the water levels of the ocean.
interior shell
steel structure
05.
Once visitors reach the base of the structure, there will be a glass wall with views of the exterior. Visitors will feel insignificant compared to the sheer mass of the mine, the adjacent superstructure and the depth of the water. On this level, there will also be an exhibition wing along the north side with a mirrored screen covering the back wall that displays the exploitation of the Arctic and its effects on climate change. As visitors move closer towards the screen, their reflections will appear on the wall symbolizing how the human race is the reason for this calamity.
n
beaufort sea
set
sun
nu.
bathurst inlet
jericho diamond mine
nt.
yellowknife
sunrise
AB. sk.
mn.
200 km
jericho mine 65°59’50”N 111°28’30”W area: 2,038,722 km2 depth: 350 m closest city: Bathurst Inlet geologic period: Jurassic Accessibility: Air & Road
06.
duration: 2006-2008 time zone: Mountain ST owner: Tahera Diamond Corporation Produced: 780,000 carats Temperature peaks: -40o - 30o
Each detail of this design challenges to advantageously combine the natural and largely exploited resources of the Arctic, in order to create a mutually beneficial connection with the environment and to provide a tangible economic alternative for Canada and the Arctic. 01. Level 4-Quarry Chamber 02. Campus/Site Diagram 03. Memorial Section 04. Jericho Mine Site & Sun Studies 05. Innovation/ Archival Center Form & Structure 06. Jericho Mine Site Map
81
The Innovation & Archival Center of the Arctic
innovation & archival center The innovation and archival hub will have research facilities, greenhouses and hydroponic farms. Recent developments have shown for the longest time that food insecurity has been growing in the region. Cost of food and produce is 10 times more than the average amount in Canada. These facilities will benefit neighbouring communities by providing cheaper produce, employment and educational facilities to students and tourists. It is also a sustainable economic alternative for Nunavut and the Arctic.
Zoe Galipeau
As a graduating Interior Design student, my passion for various design mediums has developed and grown with me over the past 4 years into a dedication to designing for the human experience. The growth that I have experienced in my knowledge and love for graphics, furniture and photography have allowed me to develop a unique rigor in designing interiors. Through research and personal experience, I attempt to create accessible designs that push boundaries. I look forward to using my varied skill set in designing for today's challenges and those of tomorrow.
zoegalipeau@gmail.com @g.designstudios pgalipeau.myportfolio.com linkedin.com/in/zoegalipeau 82
GALI PEAU course code irn 800
406 Roncesvalles Ave
With an investigation into biomimicry and design methods based on biomimetic principles, the proposed gallery space at 406 Roncesvalles will have a roof that mimics phototropism to optimise the buildings intake of natural light, thus reducing the need for artificial lighting and heating. In the city it is hard to achieve adequate natural light in a space due to towering buildings on every block. The existing building at 406 Roncesvalles is a 1 story building with a basement that has a front entrance, and a main source of light facing north east. To address this, a variety of lightwells, light shelves and voids have been designed to optimise the building's natural light intake. The ceiling has been designed with two light wells that reach into the open space above the building facing south. bi·o·mi·met·ic An applied science that derives inspiration for solutions to human problems through the study of natural designs, systems and processes. pho·tot·ro·pism The orientation of a plant or other organism in the response to light, either towards the source of light (positive phototropism) or away from (negative phototropism). 83
01.
406 Roncesvalles Ave
01. Exterior Image A west facing view of the exterior of 406 Roncesvalles Ave and its surrounding buildings. 02. Sun Diagram An east facing section of the building that demonstrates how the space was designed integrating light shelves, lightwells and voids to allow for the light to penetrate into the lower level cafe and basement. 03. Upper and Lower Floor Plans Open concept floor plans were designed for lounging and interacting, as well as plenty of open space for gallery browsing. The open gallery was designed with a limited number of solid walls to allow for the natural light to fill the space. 04. Lighting Diagram This diagram shows the pattern of direct light that will shine through the lightwells hour by hour. The light wells are strategically placed to optimize the intake of natural light and provide direct sunlight to frequently travelled paths, while avoiding direct contact with artwork that could be damaged. This sun path study represents the light pattern through July 7am-8pm. The photo shown in Fig.04. represents the pattern that would be seen in the early afternoon. 01. Exterior Image 02. Sun Diagram 03. Upper and Lower Floor Plans 04. Lighting Diagram 05. Detail 06. North Section 07. North East View
02.
03.
04. 84
05. Detail The detail drawing shows the connection between the roof structure and the glass that creates the lightwell. In this drawing you can see the connections between the interior “waffle” like timber construction, the exterior metal roof, and the glass skylight. 06. North Section The north section shows the movement and level changes thoughout the space. 07. North East View A rendering of the cafe space at 406 Roncesvalles. The view shows a perspective looking towards the front of the building, showing an interior view of the ceiling and “waffle” like timber structure.
06.
07. 85
406 Roncesvalles Ave
05.
Shannon Gallagher
The past four years at Ryerson School of Interior Design has taught me how to implement creativity into spaces that have a strong purpose. I am driven to create designs that are inclusive and accessible to all, spaces that every person can enjoy. It is important to me that my designs meet creative and technical goals to produce a meaningful and usable environment. I embrace each project as a new opportunity to experiment with the aesthetics of a space that meets the clients needs, while utilizing new developments in the design industry. My passion for Interior Design was influenced by my interest in art and photography growing up. I will continue learning about myself as a designer and building my skill set as I move forward into the industry.
shannontg2u@gmail.com @sg_interiors shannontg2u.myportfolio.com linkedin.com/in/shannon-gallagher13 86
GALL AGH ER course code
Indigenous Centre of Acknowledgment & Reconciliation
irn 800
The Neechi Sharing Pavilion is located in Allan Gardens Park in Toronto’s Cabbagetown neighbourhood. Allan Gardens is a public park in Toronto with a 150-year-old history to the city. The park attracts visitors from all over, popularized by its Botanical Gardens Conservatory, a space that is open 365 days a year and is home to many rare and exotic plants. While the park is frequented by visitors to the conservatory there are many people who make use of the outdoor green space in the park, most prominently the Neechi Sharing Circle group.
The Neechi Sharing Circle is an Indigenous community group that meets every week, rain or shine, to join together in music and support for each other. The purpose of the group is to offer a safe place for Indigenous people to gather in community, especially those who are isolated and or marginalized. The group is a space where people can join together free of scrutiny or judgmentthe group name Neechi having come directly from the word “my friend” in Ojibway language. The group gathers to share stories, share struggles and play music together, and in memoriam for members in the community that have been lost. Although there are regular group members, they also welcome anyone in the park who wants to join them in sharing. Sharing Circles are a huge part of Indigenous Canadian culture. They are typically held outside to be encompassed by nature itself as the natural elements in our world are the basis of beliefs and values in Indigenous culture. During a Sharing Circle Ceremony, attendees gather seated or standing in a circle. This is important as everyone can then see one another’s face without having to turn around or move. 87
Indigenous Centre of Acknowledgment & Reconciliation
The Neechi Sharing Pavilion is a space introduced to Allan Gardens Park for the visitors and frequent park users alike. The Pavilion has been designed to meet the specific needs of the Neechi Sharing Circle group, giving them a defined place where they can gather submerged in nature whilst giving them shelter. The Pavilion provides a space for their weekly ceremonies, and is visibly open to the park for others to walk by and observe or join in. The Pavilion provides an opportunity for Allan Gardens Park to grow socially and culturally as a key place in the city.
01.
The Pavilion sits axial to the Allan Gardens Botanical Conservatory. The Pavilion is made up of free form shapes striking contrast between the Victorian quality of the conservatory architecture. The Pavilion sits in the middle of the park where the pathway entrances from Gerrard, Carlton and Church street intersect. This location is surrounded by trees and two floral gardens. The Outer Shell of the Pavilion is a freeform copper shape. Copper is a material that patinas over time, giving it a natural aging quality. Copper is a material significant to Indigenous history as it was once used for tools and weapons, and now is often used by Indigenous artists in many creative pieces. The copper shell is formed with openings at each side and meets lower in the middle to allow for passersby to look down into the Pavilion, as well as look onto the moss roof of the exterior. The moss roof spanning the exterior of the Pavilion gives the roof a lively quality, without having to rely on a full green roof watering system. The roof features a plexi-glass dome portion that connects the interior and exterior. The roof will feature a rainwater run off system to avoid overflow, and an environmental study will determine the best location for the runoff.
01. Pavilion View from Gerrard St. Entrance 02. Exploded Axonometric & Circulation Diagram 03. Pavilion Ramp View 04. Pavilion Section 05. Pavilion Interior Daytime View 06. Pavilion Interior Nighttime View 07. Pavilion View from Allan Gardens Conservatory
02.
03.
04. 88
The 6-foot ramp leading down into the inner Pavilion shell is fully accessible to all. It circles the perimeter of the inner shell and gives full visibility down into the space, and from within to see who is arriving. A sleek handrail will run around the perimeter of the Inner Shell exterior glazing. The ramp will be heated throughout the cooler months to avoid ice build-up and feature a runoff system similar to that of the roof. The Inner Shell of the Pavilion is equipped to hold the Sharing Circle Ceremony. The floor space of the interior is fully functional and accessible to all guests. The open floor space can be used for drumming and dancing, and the benches around the outside give participants a place to sit and talk, or observe the activities taking place. The Neechi Sharing Pavilion is a sacred space that can be defined by the user. It is a space that encourages people to gather in belonging and community, submerged in the historical site of Allan Gardens Park.
06.
07. 89
Indigenous Centre of Acknowledgment & Reconciliation
05.
Sara Garisto
Sara completed her Bachelors of Interior Design at Ryerson University, and is in the process of becoming an ARIDO intern member whilst working her way towards her NCIDQ accreditation. Sara believes that creation and innovation are born from experience and exposure. By way of travel and research, Sara has been able to showcase this ideal through her work; creating designs that embody hybridity and cross cultures. Sara explores unorthodox design interventions to be introduced into existing spaces, creating novelty for the everyday user. By exploring beyond our conventional boundaries, new ideas are generated and timeless designs are achieved.
sara.garisto@gmail.com @s_a_hara saragaristo.wixsite.com/myportfolio linkedin.com/in/sara-garisto-10775a156/ 90
GARI STO course code irn 800
Metamorphose
Situated atop a cliff in Scarborough, Toronto, Metamorphose aims to capture the user into the present moment by virtue of stimulation. Metamorphose surrounds visitors with both swooping curves and lights, shifting their attention from the normalities of their everyday lives to the design that envelops them. This outdoor pavilion focuses on gradually moving through space and time, creating a sequence of events that seamlessly connect with each other. Every visitor has the capacity to determine their own path, and to live in each moment of Metamorphose through a series of sequences that seamlessly flow together. Each new moment brings forth a notion of novelty while showing a strong connection to the previously experienced spaces. By placing our thoughts and emotions into the future or the past we begin to remove ourselves from the present moment, and as a result, our sensory experiences are dulled and our actions are compromised. By moving with the flow of time, rather than attempting to surpass it, we become more in-tune with our surroundings, we reduce our anticipatory anxieties and respectively, our actions are a direct response to our present environment. Metamorphose aims to implement more activity throughout the selected site, and serve as a design that can house both public and private events. This pavilion allows users to pass through or perhaps sit, rest, and socialize within it. With the implementation of light and curvilinear elements, users are immediately faced with their surroundings by way of stimulation. The design allows each visitor to feel present and move through the space with minimal distractions from the outside environment. 91
Metamorphose
01.
With various apertures incorporated throughout the design, Metamorphose becomes a pavilion that encourages heightened interaction; users have the opportunity approach the apertures from new directions, look through them, and even situate themselves within them. Time is represented through change. As the user moves through the space, they can see the environment unfold into something new, and acknowledge that they are progressing and moving with time. Through this, the user can understand that their decisions which shape their actions are creating a sequence of events, and that their present is always born from their past. 01. South Facing Interior Perspective 02. South Facade 03. Isometric Diagram | Form & Site Context 04. North-West Facing Interior Perspective 05. Circulation Diagram | Isometric & Plan 06. Design Process Diagram 07. North Facade
02. 92
04. 1.
METABALLS
5. CAGE EDIT
MANIPULATIONS.
03. 2. COMBINED
6. MANUAL MANIPULATIONS.
10. CONTOURS
3. FORM
7. CONTOURS LOFTED TOGETHER.
11. SURFACES
4. CONVERTED
8. WIREFRAME
12. EXTRUDED
5.CIRCULAR
9. SIMPLIFIED &
13. FILLETED EDGE.
METABALLS
MANIPULATED
INTO A POLYSURFACE.
EXTRACTED.
EXTRACTED.
APPLIED.
SURFACE.
N
05.
SHORTENED IN LENGTH.
06.
07. 93
Metamorphose
CONTOURS CREATED.
Natalie Ghobrial
Hard working, passionate and dynamic are some words to describe me as an intern and as a graduate from Ryerson's Interior Design Bachelor program. Throughout my years of education, I have continuously developed my body of knowledge and qualifications in the design field. This includes, but not limited to, design theory, construction drawings, design software skills, material specifications, etc. I have also been putting my knowledge in practical experiences throughout the 400 hrs of internships and volunteer experiences that includes internships in real estate development, architecture firms and custom furniture retail. I have also volunteered in Toronto's main design events and competitions. I am eager to put my education and expertise into further use by attaining a career where I can continue to develop and grow with the ultimate goal of becoming a well rounded and proficient designer.
natalie.ghobrial@ryerson.ca @natalie_gamal linkedin.com/in/natalie-ghobrial https://documentcloud.adobe.com/link/track?uri=urn:aaid:scds:US:aa72eeb9-8ade-46f0-9ed8-ec46bf921bc1 94
GHOB RIAL course code irn 800
The Light Trail
The CONCEPT of sacred spaces in my personal definition are places that rise above worldly needs, enlighten individuals and accept all communities. Therefore, I chose the abandoned Tommy Thompson Lighthouse to create a unique one day journey. It involves many aspects that shape a spiritual and a physical experience without conforming to a specific religious structure. Rather, it finds new meanings that adjust with the modern age. The INSPIRATION came from pilgrimages- which are old religious rituals that have been adapted by the younger generations and non-believers as a way to find their purpose. Data has found that a big percentage of spiritual path takers pursue it for secular reasons, such as athletic challenges or tourism. However, as the journey continues, people reported finding spiritual connections and so have applied different modes of self ascribed spiritual expression. Therefore, journeys are able to shift in purpose as the person goes through it. In addition, meditative walking has proven to be an ecotherapy treatment as studies have shown that it is able to improve mood, anxiety and holistic wellbeing. Finally, It can bring different people together where they can recognize their own shared humanity. The LOCATION of the site creates a perfect opportunity for a spiritual journey. It is located in the urban city district with the city’s skyline view- where it can be accessible to the working age community. However, it still provides an emotional separation from the hustle of daily life and creates an opportunity for spiritual reflections as the site is surrounded with landscape views, along with Lake Ontario water. It is also considered to be a bird migration stopover site. Thus, during the summer months, the hum of the birds' songs create an acoustical experience within the park. Therefore, the site is suitable for individuals or communities who are encouraged to take an hour walk or a 15 min bike ride in the serene landscape, till they reach the lighthouse path which becomes the highest point of their journey. 95
The Light Trail
The ‘Light Trail’ is an S-shaped trail that extends the existing multi-use trail and naturally follows the park’s circulation and landscape. The added form is attached to the existing lighthouse where it addresses the site landscape features whilst also create a spiritual journey. The PROGRAM has four main spaces/moments that are built within that form. Below the trail is a path to an open public gathering area that can be used for spiritual gatherings or ceremonial practices. It features a sunken platform and seating stairs. The second area consists of enclosed rooms that sit below the landscape on the south end of the trail. They are used for private rituals like praying, scripture reading or other private meetings. The rest of the program is above the trail path as hikers or cyclists can choose to climb up the curvilinear trail. When they reach the highest point of the trail, they can take moments of rest and contemplation on the cantilevered balcony taking advantage of the view and park’s top-lands that the site was missing before. Then, the climber can get down from the trail through the south side that goes back to the rest of the park. If not, they can attend the fourth area of the program by going through the spiral interior staircase of the lighthouse. Up the stairs are the healing/meditation ‘light rooms’ that feature a circular halo light installation that becomes the source of functional and symbolic enlightenment for the room and lighthouse. As for DESIGN DETAILING, the lighthouse will be encased in spiral light panels for a greater exterior illumination. The structure will also be perforated to allow interior light diffusion and create an interesting light and shadow experience within the interior of the lighthouse. Additionally, it will allow migrating birds to land , thus supporting the wildlife program that the site has already implemented. The design will also include environmental features such as solar panels that will power the lighthouse efficiently. 01. Context Map/ Sight-lines 02. Program Diagram 03. Top View Plan 04. North Daylight Render 05. Public Amphitheater Render 06. Multi-Use Trail 07. South Night Render
01.
02.
03.
04. 96
The ‘The Light Trail’ is a project with great potential that incorporates a studied thought-out concept, program and design. It is able to create new interpretations of sacred spaces that fit within present times and take users into a spiritual journey of enlightenment and clarity. The project is also able to recognize the potential of the site as a hot spot for recreational activities and one of the best areas for green-space improvement along the Toronto waterfront. Also, it re-envisions the city’s abandoned lighthouses such as the ‘Toronto Harbor Light’ that was built in 1974, and urbanely develops it to fit within modern times. Finally, the design is guided by a few principles such as conservation by design- which is the approach to design for natural habitats while creating functional and productive areas. The architecture of the design is also able to incorporate other principles such as flow of movement, vertical path design and integration of built within landscape.
06.
07. 97
The Light Trail
05.
Claire Goble
Originally from the small town of Tyrone, Ontario, I have become passionate about our environment and look forward to designing for it in the future. I have loved learning the technical and programmatic detailings of design in my time at Ryerson, as well as the multitude of softwares that help to reveal design intents. I am so thankful for the professors I have had the pleasure of working with as I have learned so much from them as they guided me through the past few years. I am currently working at Interior Elements here in Toronto doing renderings, learning the trade, and having so much fun working with amazing people.
clairecgoble@gmail.com 98
GOB LE course code irn 800
Haven
The intent of this project is to provide a sanctuary or haven for the flora and fauna within the Enniskillen Conservation area to occupy- whether it is to seek shelter, or to take over entirely. The focus for this work will be on the existing site and methods of approach that are not invasive or destructive in any way. It is not in this piece’s best interest to provide a long lasting, static structure, but entirely the opposite: plants and trees will take over, warping and changing its form, and animals may take from it what they need for their own use. Overall my role in this work is to provide a shell for the already existing life to manipulate and change on their own accord. Although the main focus of this project is on the natural environment for which it is placed, there will be an area for humans to explore: a tunnel to travel through that reaches a look-out for the users to observe and appreciate the beauty around them. The scale of this tunnel begins at its entrance of six feet, and grows higher as you travel reaching twelve feet at the look out. The intent is to accentuate the final view as well as create a sense of journey to get there. The form itself is organic in nature, echoing the terrain it is built on and blending into the space, providing a veil of camouflage for its occupants. The biomorphic shape is meant to replicate the moss that grows on the existing concrete ruins; a parasite that creeps up and over the hill in curvalinear patterns. The form is made from weaving various species of on site saplings together to create a mesh, secured with nettle cording onto branches driven into the ground. 99
Haven
01.
Openings are provided to wrap around the flora that is already there. Its materials and building techniques will leave a piece that becomes one with its surroundings, leaving only pieces that belong there. This approach is meant to be temporary as nature will make its move in the coming years and transform it into something new. It is my hope that this piece inspires others to consider the world around them and to think of it as a user itself, something that you design on behalf of. Even though this is a temporary installation, plants and animals will find use for its remains for many years to come.
01. Sunrise Render 02. Form Insertion Diagram 03. Plan View 04. Program Diagram 05. Construction Diagram 06. Sectional Render 07. Afternoon Render
02. 100
04.
05.
06.
07. 101
Haven
03.
Katie Houghton
In my transition from student to junior professional, it is my fundamental goal to continue creating spaces with the design objective of enabling experiences, dialogue, personal connections and everything in between. I believe in crazy ideas, the use of colour and the brilliant necessity of collaboration and process. With my combined passion for design, innovation, learning and people, I consider myself a no-nonsense problem solver, a hard worker and most importantly, a team player.
katiemmhoughton@gmail.com @k8s.idportfolio issuu.com/katiemhoughton linkedin.com/in/katiemmhoughton 102
HOUG HTON course code irn 800
The Reverb House
The Reverb House is a sacred space that inspires and compels users to practice physical and emotional spirituality through the application of instrumentals, music and sound. The programming of the project invites the user on a vertical journey upward and downward, surrounded by a sense of community and art while harmoniously accompanied by ethereal acoustics and the immersion of audible and melodic movement. Located along the Lachine Canal, within the neighbourhood of Saint Henri of Montreal, Quebec; Reverb is fabricated within the interior of the original concrete silos of the abandoned Canada Malting Company factory. Known famously at the time as the ‘Montreal Malthouse’, the factory was built and completed in 1906 and was recognized as the largest and most modern Malthouse in North America at the time. The factory became abandoned in 1989 when Canadian National Railway halted their service line to industrial factories in this area of the canal and since then, it has become a landmark in the city of Montreal for artistic expression, leisure and historical exploration. The Reverb House hosts musicians, sound artists and audible performers of all kinds within the ‘audio studio’ to perform and share their work, art and passion with the guests and users of this venue. Performers are zoned within the private quarters of the house to allow the audience of the performance to experience the audible composition through their own spiritual mind and body, as their connection to the audible movement is only directly through the senses of touch and sound. Scheduled performances occur within the Reverb House during peak visit times daily, however open opportunities to the public to share audible projects and compositions are available during select sessions. 103
The Reverb House
01.
The ‘audio studio’ is located on the ground level and features a large modular and creative space to ensure that all potential audible needs required by the performer are met, along with a lounge space for selected guests and company. The studio uses advanced and sensitive audio technology to collect the performer’s output and amplifies and reverberates that upward toward the experiential zones through the large-scale speaker placed within the base of the acoustic cylindrical chamber. The acoustic chamber is fabricated within one of the original concrete silos from the ‘Montreal Malthouse’ creating an extraordinary ethereal, acoustic and sound experience that penetrates through the physical body. 01. Acoustic Chamber Catwalk I (Fourth Level) 02. Site Exterior 03. Audio Studio (Ground Level) 04. Ramp Access (Ground Level) 05. Plan I (Ground Level) 06. Exhibition Space 07. Acoustic Chamber I (second Level) 08. Northwest Section 09. Acoustic Chamber Catwalk II (fourth Level) 10. Ramp Exit (Roof Access Level)
02. 104
04.
05.
06.
07.
08.
09.
10. 105
The Reverb House
03.
Jamie Iamarino
In my four years of design school, I have grown not only as a designer but as a person. I have learned new skills and have had the opportunity to meet amazing people (hopefully future colleagues) that have taught me so much along the way. I learned to combine my artistic abilities with my design knowledge, and have developed into a well-rounded multidisciplinary designer with a passion for architecture, graphic, product, and interior design. My creativity and love of nature allow me to incorporate biophilic elements and modular designs into spaces using new and exciting ways by creating multi-functional interiors that challenge our traditional understanding of the interior and exterior landscape.
jamieiamarino@gmail.com @jamieiamarinodesignandart linkedin.com/in/jamieiamarino jiamarino.myportfolio.com 106
IAMA RINO course code irn 700
group members Jamie Iamarino, Amy Li
CONNECTIONS Porte & Passaggi Legacy of the Past
The Fortezza del Girifalco of Cortona has deep historical roots that trace back to the Umbrians. The Fortrezza was reconstructed and altered throughout its history to suit new purposes. Cosimo I de’ Medici made major structural changes to the Fortezza in 1556 to suit modern military defense purposes. The Fortezza was most recently acquired by the Cortona ONTHEMOVE organization and transformed into a gallery and event space. There are still many spatial issues facing this transition as the original Fortezza was meant to be unwelcoming, inaccessible, and maze-like to suit its functions as a military defense structure. Thus, various spaces in the Fortezza are disconnected because of problems including differences in levels and lack of pathways. Our design intention is to bridge the old with the new by the use of openings and connections. Connections will be made between spaces in order to create one continuous experiential space. The main pathway connections will bring users from the bastions to the courtyard, which will serve as the social core of the Fortezza. By bridging the old with the new using connecting structures, we hope to reveal existing layers of the fortress while adding a new modern layer that speaks to its historical roots. The new character of the space is intended to be open, welcoming, and accessible to suit its new functions as a cultural center and academy. Overall, our intervention fixes the disconnect of the existing spaces that hinders the Fortezza’s proposed modern functions. 107
CONNECTIONS Porte & Passaggi
01. 02.
03.
04. 05.
06.
108
07.
There are certain aspects of this design that are meant to remind us of the past. The Roof Terrace is a space meant to replicate an Italian Pergola, which is a garden and seating area covered with lattice, vines, or cloth which are typically supported by wooden beams. The Court Yard Studios were designed as an intervention that honors the soldier and supply housing structures that once stood in that space. The Bastions were reimagined as a multi-use Exhibit Spaces while showcasing and maintaining much of the original shapes, and structures of the historical space. While the Exterior Staircase addition is meant to unify the existing Fortezza allowing it to function more naturally for modern uses.
09.
01.Section 02.New & Existing Spaces 03.Exterior Staircase 04.Court Yard & Studios 05.Exploded Spacial Programing 06.Bastion Exhibit Space 07.Roof Terrace (Pergola) 08.Floor Plans 09.Circulation (left) & Private vs. Public Spaces (right)
109
CONNECTIONS Porte & Passaggi
08.
Sara Jaramillo Gomez Over my university experience in the Interior Design program, I have developed a great interest in the retail and hospitality sectors. My passion is to design all kinds of spaces where everyone can have a memorable experience. I look forward to challenging projects in order to continuously evolve as a designer. My designs have a mutual goal of ensuring that the client’s needs and desires are integrated in a way that exceeds their expectations. In addition, while executing my designs, I envision implementing sustainable approaches into each project to further elevate the space by having a positive impact on the environment and human health.
sarajgomez7@gmail.com linkedin.com/in/sara-jaramillo-gomez-03970719b/ 110
JARA MILLO GOMEZ course code irn 700
Lavar
Laundromats are commonly thought of as unappealing and unpleasant. However, for many, it remains as the only place where they can do laundry. Laundromats should be a place where the customer experience is as important as the cleanliness of the space. By taking the typical laundromat design and providing the facilities needed to entertain, customers will be encouraged to make connections with others while enjoying a cup of coffee or a quick board game. The goal is to design a laundromat with entertainment where the post-secondary community can come together to enjoy the facilities offered while doing laundry. Through the exploration of fluidity and circularity, the design presents Lavar and its services. Lavar encourages students to work, play, and wash. This laundromat manages to create an atmosphere where customers will enjoy doing laundry.
Lavar is a retail service that is welcoming and appealing to our target market, as it provides activities that post-secondary students enjoy. Lavar exceeds laundromats designs with a bolted point fixed glazing facade which allows daylight into the building. The spacious interior with various programs is divided with partial curtain walls. A circular staircase in the middle of the space invites customers to easily travel from the first to the second level where the laundromat is located. The laundromat has been designed to be an extremely vibrant and functional space. By providing a large circular skylight and windows, light is allowed to bounce off of the bright materials. The use of detailed tile flooring and wall tile helps maintain a regular maintenance routine making it feel clean and welcoming. The laundry equipment was designed against the wall to provide an open concept and easy traffic flow. Across the laundry equipment, long countertops were installed to allow customers to organize and fold their clean laundry. The major goal of this project is intended to call other laundromats to elevate their space prioritizing the customer experience. 111
Lavar
01.
Lavar creates a space where the brand is represented within the design. Beginning the experience upon arrival, customers can either use the wash and fold service or self-serve. If one chooses to do their laundry, the customer can take the elevator to the second level to begin their laundry process. Customers can then head down the stairs and choose which activity they desire to do. Activities include doing homework near the entrance, sipping coffee with a friend by the stairs, or playing board games with other customers. These facilities allow customers to not only socialize but feel productive by completing their unwanted chores. A place where it is welcoming with a pleasant environment that customers will want to experience again. 01. Storefront 02. Level I & Level II Floor Plan 03. Lounge Area 04. Game Area 05. Laundry Area 06. Wash & Fold Service Area 07. Laundry Area
02. 112
04.
05.
06.
07. 113
Lavar
03.
Joanne John
Originally from India, having grown up in the Middle East, and now being based in Toronto has given me a fresh perspective on culture and design. Consequently, my passion in the fields of interior and graphic design have been largely influenced by the way I think and see the world. Through the use of texture, colour and materiality, I aim to design spaces that organically create narratives that cultivate connections between the space, the programming and the user. My work ethos is founded on designing spaces that are inspired by people, their interactions and creating a community culture.
joanne.elizabethjohn@gmail.com @byjoannejohn linkedin.com/in/joanne-john byjoannejohn.wixsite.com/portfolio 114
JOHN course code irn 800
Mar Aphrem Jacobite Church
The Mar Aphrem Jacobite Church is located at 229 Queen St East in downtown Toronto and inhabits the former Kormann House Hotel. The Jacobite Syrian Orthodox Church (also known as the Malankara Jacobite Syrian Orthodox Church) is an autonomous oriental orthodox church that is based in the South Indian state of Kerala. Mar Aphrem aims to create a space for worship and community for the Torontonian diaspora within the heart of downtown Toronto. Using the traditional Jacobite church as a model, Mar Aphrem implements specific motifs that are commonly found within a Jacobite church in Kerala and reshape it to adapt it to its Torontonian context. Since it is located on the corner of Queen and Sherbourne, an area that is notorious for homelessness, drug abuse, and crime, Mar Aphrem aims to transform the profane into a sacred space both for its followers and for the larger Torontonian community. In doing so, the space requires programming that involves the traditional processional journey of a worship-goer: the narthex, nave, altar, and high altar; as well as additional spaces that can accommodate for both their practical needs (a community kitchen to serve the disadvantaged) as well as their spiritual needs (a meditation space where they can personally meet with God). These programming needs were implemented within the boundaries set by motifs found in a traditional church. The six motifs that are realized in this project are: a painted exterior in either white or a vibrant pastel color, the use of arched structures, a skyward sightline that directs the churchgoer up towards the sanctuary, a gathering space or narthex, an oil lamp that separates the congregation from the altar and a high altar that can only be accessed by the Bishop. In incorporating these motifs and implementing the programming that was laid out, Mar Aphrem aims to create a space of worship and reverence within the depths of downtown’s squalor. 115
Mar Aphrem Jacobite Church
01.
1. Painted Exterior
2. Skyward Sightline
3. Arched Forms
4. The Narthex
5. Oil Lamp
6. High Altar
02.
One of the ways in which the motifs are incorporated is through arched structures. The use of these arched forms begin from the exterior windows and takes shape inwards as door openings, voids to walk through, decorative structures and furniture. It is the most prominent form from the long arched colonnade to the shape of a lamp. Similarly, since traditionally the narthex is the middle ground between the profaness of the world and the holiness of the sanctuary wherein the churchgoer cleanses themselves of the world before entering the church, Mar Aphrem dedicates the entire ground floor for this purpose as it allows for the congregation to cleanse themselves through fellowship with their Church family and friends. In these ways, Mar Aphrem honours the traditions of a Jacobite church within a newer Torontonian context. 01. View of the Main Church and Altar space. 02. The Six Main Motifs of a Traditional Jacobite Church. 03. Site Plan of Mar Aphrem Jacobite Church at 229 Queen St E. 04. Basement Level Floor Plan. 05. Ground Level Floor Plan. 06. Second Level Floor Plan. 07. View of Narthex/ Gathering Space. 08. View of Solitary Meditation Space.
116
03.
07.
08.
Mar Aphrem Jacobite Church
117
06. 05. 04.
Veronica Krolicka
My interest in the field of interior design sparked from the fascination of making an impact. I strive to create new ways to experience commonly mundane environments. Through my work experience and studies at Ryerson University, I have faced challenges by immersing myself into new scenarios, having gained a more open perspective by doing so. Being continuously inspired through traveling, architecture, and fashion, it encourages me to appreciate the ever-changing field of design.
v.krolicka@hotmail.com @veronicaxdesigns linkedin.com/in/veronicakrolicka 118
KROL ICKA course code irn 700
Retail Brand Identity: LOCI
LOCI is a brand identity that places you in an abstract environment. This provocative and vulgar brand provokes questions and intriguing experiences that leave visitors asking to come back. Inspired by monumental staircases, this retail space will sparsely display fashion merchandise on a grand staircase, providing a luxury experience. The impactful architecture will gain a new appearance with each transitioning season. Odd combinations in materiality and design elements satisfy the shopper’s eye and encourage a playful environment that caters to any being. The top floor is meant to feel like the user is walking into a wardrobe—the LOCI atelier. This floor is meant to focus on the personalized experience. This level also hosts the studio that acts as an incubator for new ideas and tailoring services for the clients. It leads to an interesting sightline to the mezzanine looking out to the rest of the store below, the grand hanging fixture, and to the exterior; the perfect place for pictures. The brand is meant to provoke interest in the visitor. This fashion retailer provides avant-garde fashion in an avant-garde interior. Upon entering, the multi-use grand staircase catches the eye. Its transitional qualities can be used for events or visual merchandising. Luxuriously lit shelving hugs the walls to host fashion accessories and footwear, and display tables scattered towards the middle of the space hold fashion accessories and select clothing. 119
Retail Brand Identity: LOCI
01.
Along the grand staircase is a feature wall with the same materiality, meant to hold art pieces and one of a kind fashion items for sale. The spacious fitting area has a warmer quality with overlapping carpets and soft seating to treat clients to a beverage while shopping. Inside the fitting rooms, there is a focus on detail. Rice paper glass is framed by the door and a small custom pendant hangs in each fitting room. The surrounding lighting flatters the client in LOCI’s clothing, intriguing them to make a purchase.
01. Ground level. 02. Ground floor plan (left). Second floor plan (right). 03. Ground level looking towards storefront. 04. Fitting room. 05. Second level. 06. Second level looking towards storefront. 07. Fitting area.
02. 120
04.
05.
06.
07.
121
Retail Brand Identity: LOCI
03.
Lauren Kylie
Lauren’s passion for design stems from nature and while becoming an alumnus at the Ryerson School of Interior Design, she has learned a balance of theory and practice in communications, professional practice, design dynamics, structure, technology, and history of art and design. For the past three years, part-time employment as a design assistant at Key Impressions Design Inc. has also helped Lauren gain many skills in this position. Lauren is highly motivated to continue learning on her own and using the skills that RSID has taught her, and is thankful to her family, friends, and classmates who have encouraged her throughout the past four years.
lkylie@outlook.com @_laurenkylie @LK_DesignCo linkedin.com/in/lauren-kylie-04a3a8139/ lkdesignco.wixsite.com/website 122
KYL IE course code irn 800
Hope Mill Chapel
Within the Catholic Religion, there are the Seven Sacraments which utilize water. “A Sacrament is an outward efficacious sign instituted by Christ to give grace. Jesus Christ himself is the Sacrament, as he gave his life to mankind.” The church uses wine and bread as the blood and body of Christ, which is a Sacrament the church uses within itself. All Catholic and Orthodox churches follow the Seven Sacraments; Baptism, Confirmation, Holy Eucharist, Penance, the Anointing of the Sick, and the two Sacraments of Vocation are Holy Orders and Marriage. The concept Inspiration for Hope Mill Chapel is from water. The newly renovated Hope Saw Mill will be a sacred space for people looking to connect with God in a more spiritual manner and being able to use the Seven Sacraments to do so. The design elements will represent as much of the initial main structure as possible while also representing the outdoors. The use of woods, and warm browns will invite people into the space and create a warm and protective atmosphere. The spatial manipulation will be linear like the flow of water down a river. The impact will be a comforting atmosphere and the value added will be through an addition of a large glass window façade allowing people to connect with a higher power through light. 123
Hope Mill Chapel
01.
Hope Saw Mill was built in 1832, purchased with 200 acres on the Indian River. By 1835, it was a constructed dam to power a carding and fulling mill and measured at 41 feet by 44 feet. The sawmill in Lang burned in 1873 and shortly thereafter, a saw house on the south side of the building was added. ORCA made extensive repairs to the property: the earthen dykes on both sides of the dam were regraded and raised; a passageway over the dam was built; stone walls were repaired; wooden siding was replaced; the tin roof was removed and replaced with wooden shingles. The opening of the Mill was on August 26, 1972. ORCA operated the Hope Mill as a heritage demonstration site. Hope Mill was officially reopened as a heritage demonstration site on Sunday, June 03, 2006.
01. Exterior View of Chapel Addition 02. Site Plan 03. Interior View of Interior Chapel 04. Interior View of Exterior Chapel 05. Exterior View of Main Entrance 06. Interior View of Reception Hall 07. Interior View of Interior Chapel Windows
02.
124
04.
05.
06.
07.
125
Hope Mill Chapel
03.
Vanessa Lai
As a design student, I focus my work primarily within the process of exploring different creative innovations. For every project, I try my best to understand the core needs of the virtual/ simulated clients. Putting myself into the shoes of the user is what I value most when coming up with design solutions. My design approach is heavily based upon craftsmanship, sustainability and social justice. I always strive to connect designs with social and humanitarian intents.
vanessalai.design@gmail.com @vanessalai.design linkedin.com/in/vanessa-lai-rsid 126
LAI course code irn 700
Zeus in 2019: Lady Liberty Hong Kong
This project is a contemporary (and personal) response to a chosen object - Bust of Zeus Ampelikos from the Malcove Collection at University of Toronto Art Museum. The Bust of Zeus Ampelikos and Lady Liberty HK share the same function in their respective eras - a physical representation of a certain value and spirit that people look up to. The installation is an emotional and factual response to the values that are inherited in the social movement in Hong Kong. There is special emphasis on the colours that symbolize the movement: yellow representing hope, democracy and freedom; while black represents anger, despair and the protesters. The space is separated into two distinctive zones: black on the outer zone - embracing a smaller, intimate and almost sacred space within. The black walls are rendered with black sticky notes. Each sticky note represents one person that were arrested due to their participation in the demonstrations. The number of sticky notes is a rapid response to number of arrests in reality. The installation is also integrated with audio recordings from live streamings of the demonstrations to enhance the audiences’ experience. Hong Kong is a place where I was born and call home. Taking such topic to the studio project in my final year is my way of responding to the injustice and tragedy that happened (and is still happening) in Hong Kong. By comparing Zeus as a symbol of a powerful ruler to Lady Liberty HK as a symbol of power to the people, I wanted to pay my greatest solidarity to the people who were sacrificed and have suffered in this battle for freedom, especially of those who were arrested due to participation in protests/ demonstrations. 127
Zeus in 2019: Lady Liberty Hong Kong
01.
01. Comparing Zeus and Lady Liberty Hong Kong 02. Photograph of 1:50 scaled model 03. Installation Floor Plan 04. Photograph of 1:50 scaled model 05. History of Goddes of Democracy in China and Hong Kong 06. Lady Liberty HK Deconstructed
128
02.
04. 03.
06.
129
Zeus in 2019: Lady Liberty Hong Kong
05.
Phoebe Lau
My passion for interiors started in childhood, playing with Japanese miniatures. I am most interested in designing sustainable and interactive interiors for exhibit, retail and hospitality. I am a very detail-oriented and curious person who is constantly exploring inspirations and different ways to express design.
pheebsdesigns@gmail.com @pheebsdesigns linkedin.com/in/pheebsdesigns pheebsdesigns.myportfolio.com 130
LAU course code irn 800
Eco-Lounge
It is easy to find information about water usage in fashion and food industries; however, the construction industry is not as transparent with these facts. My project investigates water usage in building materials and the construction process. Located in Ryerson’s Interior Design building, Eco-Lounge is a space for students to relax and unwind from stress, while enhancing a water-conscious theme throughout the building. Eco-Lounge proposes the use of alternative materials that reduce our water footprint. Chosen materials come from quickly renewable resources and recycled content, while producing minimal waste and energy. 131
Eco-Lounge
01.
02.
03.
05. 04.
06. 01. Exploded Axonometric 02. Detail: Nap Pod, Accessible Nap Pod 03. Detail: Meditative Pod, Accessible Meditative Pod, Work Pod 04. Process Drawings 05. East Elevation (Second Floor) 06. West Section (Second Floor) 07. Hallway Installation Render 08. Individual Lounge, Hallway Installation, Social Lounge 09. Social Lounge Configurations 10. Model: Accessible Nap Pod, Nap Pod, Meditation Pod, Work Pod and Social Seating, 11. Partition: Second Floor, Third Floor 12. Reflected Ceiling Plan: Second Floor, Third Floor
132
07.
08.
09.
Eco-Lounge
10.
04.
SOCIAL LOUNGE
12.
11. 133
Celine Law
Celine Law is passionate in articulating forms and shapes to create spaces that interact with the programming and enhance user experience. Throughout her education, her immense interest in architectural installations and determination in space planning have encouraged her to create spaces that integrates form and function. She strives to translate expressions and vision in spatial forms, and with this motive, Celine is eager to continue exploring and experimenting in the field of design.
celine.law@ryerson.ca @celinelaw linkedin.com/in/celinelaw 134
LAW course code irn 800
Fonte: A Music Venue
Music venues should be sculpted to provide an exciting and intriguing spatial experience that can attract and complement the performance on stage. Currently, the venues in Toronto do not take advantage of the space that they have and are minimally designed. Guests often arrive early and are left with no choice but to stand in line outside waiting for the event to start. Once the event is over, guests are quickly exposed to the wide empty space surrounding them as everyone is swarming to leave. Therefore, the experience of the event does notndepend solely on the performance. Creating a spatially designed hall to fill the empty space will not only leave a better impression of the overall experience on the guests but also supports the performing act when designed and collaborated skillfully. Fonte’s 3 main design goals are: 1. Designing a spatially intriguing space for guests 2. For performances to interact and incorporate with the space 3. To structurally interact with the guests as a public space The resulting three main design features of Fonte are the ribbons at the front - welcoming guests to come in, the pavilion that arches around to the top of the structure - serving as a public space and the curved window featured as the backdrop of the stage. Fonte’s initial structure references to Under, an underwater restaurant in Lindesnes, Norway. An addition is built upon Under to better suit the anticipated programming. 135
Fonte: A Music Venue
02.
01. 03.
04.
136
Fonte: A Music Venue
05.
Docked at the edge of Lake Ontario, Fonte is a part of the Toronto Music Garden located in the heart of Toronto.
06.
07.
Upon arriving at Fonte, guests can choose to discover the pavilion below which invites guests to be closer to the water or to explore the spatial experience within the building. On the ground floor, guests meet a coat check area and are guided down the main stairs towards the -1 level. This level consists of a stage, a bar, backstage area, and restrooms. Gradient acoustic panel lining feature stairs and acoustic plaster is used throughout the interior to mimic waves of the lake and the calm, muted sound quality of being underwater. 01. Floor Plan 02. Sight Line, Circulation, Massing, Parti & Paneling Diagram 03. Longitudinal Section 04. Front Entrance Render 05. Aerial Render 06. Interior Feature Stairs Render 07. Interior Stage Render
137
Amy Chen Hui Ling Li
Amy begins every project with research to understand the people, environment, and context of design. She lets all the info she gathers to ferment in her subconscious. In the meantime, she is constantly sketching, thinking, and playing with found items in her chaotic workspace. As ideas formulate and surface, she develops them in an iterative process that constantly brings her back to her notebook filled with chicken-scratches. Her designs tend to respond to the local context as her goal is to create spaces that form a dialogue between the user and their environment. Lastly, she believes in designing spaces that are sustainable, enduring, and experiential.
amychl@hotmail.com @amychli linkedin.com/in/amy-chl-li/ amychli.com/ 138
LI course code irn 800
group members Megan Barrientos, Amy Li
Blooming
Year after year, flowers bloom and wither in a perpetual cycle. The beauty of blooming flowers attracts many onlookers who venture from all over the city. Examples of this phenomenon include Toronto’s Cherry Blossom Festival, Ottawa’s Tulip Festival, and Hillier’s Lavender Festival. This moment of connection with nature has healing and restorative effects on the mind and psyche. Psychological studies have long since connected nature with improved mood, health, and wellbeing. However, opportunities for such an experience are on a decline for urban dwellers as green spaces are exchanged for urban construction. As the average North American spends 90% of their time indoors, the modern lifestyle has increasingly become more distanced from nature as it transitions to being more digitally-focused. The installation Blooming seeks to bring the experience of blooming flowers to interior urban spaces. With Arduino programming, the installation allows visitors the ability to actively engage with nature. As a person moves, nature responds in the form of blooming flower modules situated on the ceiling canopy. The flower modules are custom-designed 3D-printed hexaflexagons with a pinion-and-rack mechanism to facilitate its movement. The installation seeks to demonstrate that no matter how seemingly disconnected we seem from our natural world, we are still very much part of nature’s cycle. The module of the installation takes inspiration from the white trillium. This flower has been Ontario’s provincial flower since 1937 and was historically used by Native Americans for its medicinal qualities. Despite its historical and ecological roots, the trillium remains in obscurity. It is a flower rarely found in Toronto due to habitat loss. Blooming seeks to reconnect Torontonians to their local historical and ecological roots. 139
Blooming
01.
02.
03.
04. 01. Diagram of Module Open-and-Close Motion 02. Diagram of Responsive System Controlled by Arduino 03. Arduino 1: Transmitting Input 04. Arduino 2: Receiving Output 05. Half-scale Prototype Showing Open-and-Close Motion 06. Perspective Rendering ofInstallation 07. Close-up Rendering of Modules 08. Exploded Axonometric Diagram of Ceiling Plane Layers 09. Perspective Rendering of Woman interacting with Modules 10. Frontal Perspective with Toronto Landscape Contour Overlay
05. 140
Blooming
06.
07.
08.
09.
10. 141
Anna Li
My interest in interior design came from my fascination with the fantastical landscapes created in my favorite films and video games. I grew up drawing and dreaming up my own imaginary worlds. I strove to turn that passion for visual art and environment design into a career; creating spaces that combine functionality and problem solving with creative forms. I am always looking for new programs, mediums, and technology to improve my own visual communication skills and better my personal workflow.
annali.yql@gmail.com @clairedelune.al linkedin.com/in/anna-li-005098157 annaliyql.wixsite.com/mysite 142
LI course code irn 700
Curio
The task for IRN 700 was to create a retail design for a brand of our own design in Yorkdale mall or a stand-alone street front location. For my brand, I explored a potential future of a fashion brand that incorporates aspects of digital fabrication into the construction of clothing pieces like 3D printing and laser cutting. With fashion designers like Iris Van Herpen pushing the boundaries of integrating technology into beautiful fashion pieces, digital fabrication can help create unique and intricate designs that can be customized to fit every client decreasing fabrication waste and the reliance on fast fashion brands. Curio is a fashion brand that focuses on selling products crafted using digital fabrication methods like laser cutting and 3D printing. Because of the increasing ties to nature that digital fabrication has, the theme of the store references a natural history museum. The museum is a way in which we now archive and display natural objects. I want to emphasize that the products of the store are unique, and while digitally made, they contain inspiration from nature and are sometimes created from hybrid materials of synthetic and organic composites. Some iconic features of museums featured include the large statement piece in the lobby, sometimes a whale or a large dinosaur bone, glass display cases to house the products of the store, classic architectural forms, as well as the prolific use of natural stones like marble or granite. 143
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
02.
The store is divided into two parts. The main area in the front is the display for the product and the back area, contains a consultation lounge where customers can try on the products, or get clothing custom made or tailored to fit. The offset pillars are topped with arches, a nod to classical architecture but also become glass display cases to hold large pieces like dresses. The walls feature custom display millwork that house operational 3D printers behind glass cabinet doors. The detail animates the interior space and provides mystery and movement sparking customer curiosity.
03.
PRODUCED BY AN AUTODESK STUDENT VERSION
01 Exterior Render 02. Floor Plan 03. Reflected Ceiling Plan 04. Exploded Axonometric of the Display Pillars 05. Exterior Elevation 06. Interior Elevations 07. Millwork Details 08. Interior Render
PRODUCED BY AN AUTODESK STUDENT VERSION
Curio
01.
04. 144
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
3D PRINTER
PRODUCED BY AN AUTODESK STUDENT VERSION
07.
08.
Curio
145 PRODUCED BY AN AUTODESK STUDENT VERSION
06.
3D PRINTER
05. PRODUCED BY AN PRODUCED AUTODESK BYSTUDENT AN AUTODESK VERSION STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Adrian Lukaszczyk
I believe that the primary objective of design is the creation of something that has a positive influence on the lives of those that interact with it- be it individuals, groups, or communities. Designers occupy a unique position in this regard as the spaces and objects we create serve to frame the very world people inhabit. Accordingly, it is important to question and analyze the contemporary state of design within modern society as I believe that new technologies have provided a new toolset with which to expand on previously unimaginable ideas. Given the rapid proliferation of new technologies in all aspects of our world, I have made it my goal to encompass these advancements within my designs to move beyond traditional approaches and achieve a design language that better reflects the upcoming age of technology.
adrianlukaszczyk21@gmail.com linkedin.com/in/adrianlukaszczyk youtube: adizyk 146
LUKAS ZCZYK course code irn 800
Illuminous
The development of my sculptural take on a light fixture stems from my understanding of emotive space. An emotive space is an imaginative space that becomes an indefinite interpretation of one’s emotions, something which is unique to every individual. Emotion is a natural instinctive state of mind and intuitive feeling derived from one’s circumstances and experiences. A pervasive societal problem that I decided to challenge through the manifestation of my design was the ‘fear of the unknown’. Everyone faces undisclosed anxieties regarding uncertainties, whether it be the results from a test or the outcome of a previous job interview. I sought to address this issue through an unorthodox approach to creating a lighting fixture. The light may come off as strikingly intimidating at first glance through its form; a menacing silhouette composed of a parametric array of pointed ‘wings’. This composition is a physical embodiment of the aforementioned societal issue; however, it is intended to help appreciate the precious nature of light itself once an individual becomes familiar with the profile of the fixture. The fixture features an operable and modular parametric design, where each wing’s position can be adjusted relative to its neighboring element. The design was achieved through the use of technological approaches to the fabrication process. The light was first 3D modeled and then laser cut, resulting in approximately 300 separate pieces of clear and black acrylic used to compose the final form. Fiber optics were then incorporated to introduce the unique arrayed appearance consisting of edge-lit wings. Due to the given circumstances stemming from COVID-19, only about 50% of the physical elements were produced, and multiple iterations of the final light product are estimated to be completed by 2021. Dimensions: L: 1’ - 10”, W: 2’ - 3”, H: 3” (dimensions listed relative to resting phase profile) 147
Illuminous
01.
In addition to the light form itself, an accompanying cinematic animation was created to provide an audience with a more abstract interpretation derived from my personal philosophy and understanding of emotive space. In the video, the light takes on the form of a companion guiding the viewer on a journey through a desolate island, sculpting and leaving behind a trail of artifacts both reminiscent of the past and suggestive of the future. The cinematic was created through the use of Rhino, Blender, and Unreal Engine 4. Feel free to watch the full cinematic through visiting the attached link: https://www.youtube.com/watch?v=7Sg0wrByWy4 148
02.
Illuminous
03.
01. Light - Digital Rendering 02. Frame from Cinematic (1) 03. Frame from Cinematic (2) 04. Frame from Cinematic (3)
04. 149
Julie Meunier
My last four years at Ryerson School of Interior Design have instilled in me a strong interest in people and their use of space. Over the years and after a multitude of projects I have worked on, I would say my style has developed into work that is nostalgic, poetic, and personal. My main interests are in the arts, and in heritage architecture. Moving forward, I would like to further delve into projects focused on re-imagining housing and further developing my understanding of how our homes or dwellings, identities, and memories are all interconnected.
jmeunier98@gmail.com @julieemeunier juliemeunier.myportfolio.com 150
MEUN IER course code irn 700
Moments
This interior design studio’s focus was determined by a culture of our choice. I decided to focus on the culture of ‘dwelling’ as the basis of this project, and the capturing of moments that could occur in one’s daily life within their home. I wanted to create spaces that if not captured the passage of time within a space, allowed for that to happen. They were canvases of sorts, depictions of spaces that had the potential of becoming what my own childhood home, the apartment I lived in on exchange, or my grandmother’s house in France, now mean to me. The project is titled Moments to highlight the value and impact these spaces can have on each individual. We attach these spaces to our identity and to particular times in our lives whether we realize it or not. I wanted to depict the power in the seemingly mundane. Some of the inspiration for this project was driven by the book ‘The World of Apartemento’ which compiles a series of candid photographs depicting homes with mess and obvious character and provide emphasis on the unpolished interior. For this project, we were asked to think of six spaces which I then associated with typical rooms within a home. Mine included a place of belonging (the bedroom), place of collection (the living room), place of nostalgia (the dining room), place of arrival (the foyer), place of intimacy (the washroom), and a place of identity (the bedroom). A home should be sacred to its user, and although these Moments may take years to develop and become what they become, it is up to us as designers to provide a canvas for users to paint their own picture and vision of what home means and looks like to them. The site for this project was at 100 Wellington, a heritage building located across from Parliament Hill in Ottawa. I decided to convert the building into 10 apartments across four floors. That became an additional focus in the project, how do we preserve history and culture in architecture while accomodating for new uses? 151
Moments
01.
After having divided the building into 10 apartments, I decided to narrow it down to three and develop a series of characters for each one. This helped determine the stylistic direction for each project. I chose one of the six aforementioned spaces for each apartment and created a series of images depicting the spaces lived in. The living room (place of collection) shows a collection of art on display on the wall, as well as personal photographs. The outdoor view of the apartment’s goal was to depict the warmth within a home and how it can feel like eavesdropping, or crossing a line when looking into a stranger’s living space as it is very personal to them. Finally, the dining room (place of nostalgia), depicts the passage of time as one person travels through the space performing a variety of actions. 152
02.
Moments
03.
01. 100 Wellington Apartment Plans 02. Apartment 2, (Place of Collection) 03. Apartment 1, Outdoor View 04. Apartment 1, (Place of Nostalgia)
04. 153
Hina Mistry
Hello! I’m a recent graduate at Ryerson’s School of Interior Design. My passion for creating intriguing, yet functional spaces has pushed me into following my favourite type of design, which is entertainment destinations, as well as office design. I am educated in the core software required for this field: Revit, AutoCAD, Rhinoceros, and several of the Adobe programs. Along with those skills, I have developed my technical skill, modelling and hand drafting. I’m excited and eager to see where this journey of design will take me as I am open to an endless amount of possibilities
hina6mistry@gmail.com @by.hmistry .linkedin.com/in/hinamistry6 154
MIST RY course code irn 800
Fluid Playground
The lack of engagement seen in kindergarten students within the playground of this public school is due to the absence of aesthetic excitement and creativity featured in this typical configuration of a playground. The inclusion of a multifunctional intervention will encourage interactivity and evoke the emotions of the young minds through its fluidity and function. 155
18.54m
CLIMBING SPIRAL 0.51m
HANDLES
SAND PIT
SWING SET
1.8m
3.53m
2.29m
1.95m
2.46m
1.83m
1.71m
2.38m
1.79m
MONKEY BARS
2 ABACUS
SEATING
Fluid Playground
3 SECRET CLUBHOUSE
1
A
PLAN @ 1:50
01.
Replacing the existing disconnected playground at this elementary school’s outdoor space with a more fluid yet functional take on a playground allows for a world of imagination for young students. It does not take much to entertain a child as they can see a simple line on the ground and create a function from it. By creating this elevated interconnected curve, there are several different activities a child could take part in- while also realizing that the shadows these metal pipes cast onto the rubber flooring, as well as the painted graphics, allow for another dimension of fun to keep a young student entertained. 01. Exterior Floor Plan 02. Secret Clubhouse - 3 03. Abacus - 2 04. Seating Area - 1 05. North-Facing Elevation of the Abacus Area 06.North-East-Facing Section 07. West-Facing View of Playground Showcasing Main Interconnected Curve Form
02. 156
03.
ABACUS ELEVATION 1:20
04.
A
0.54m
1.22m
06.
05.
07. 157
Fluid Playground
SECTION @ 1:30
Salma Moawad
I am enthusiastic, innovative, and creative, with a unique aesthetic eye for design. My previous internships at Hany Saad Innovations and Alchemy Design Studio in Cairo, Egypt have expanded my expertise in the field of Interior Design. I am also looking to further develop my knowledge in product, furniture, and landscape design. My goal is to pursue an MBA and start an independent interior design firm of mine, with its unique line of product design.
smoawad16@gmail.com @salmamoawadd linkedin.com/in/salmamoawad-849750191/ 158
MOA WAD course code irn 800
The Spot - Harbourfront
The spot is a non-denominational sacred space created for a group of people. It is located in the harbourfront area of Downtown Toronto and serves as a connection between two pieces of land on a body of water. This is a very prominent area because it is very frequently used during all seasons of the year. This location was chosen because of its infinite view of the water on one side as well as the impeccable city view on the other. Despite the beauty of this area, it is not used as often during the winter since the existing bridge is an open to the elements and can get very slippery and hazardous in the winter. Moreover, the existing Amsterdam bridge is not accessible for users with bikes, strollers, or those with accessibility needs. This is a space for people to enjoy the views of nature while being located in a downtown core. What makes this space sacred is the ability to transition from the outside chaotic world into one that has sacred qualities. Therefore, it explores the journey from a profane to sacred space. Because the bridge is all about the journey of getting from one space to the other, the scale and geometry of the bridge are what allows this type of experience to take place. As you move through the space, one will experience elements of surprise. 159
The Spot - Harbourfront
01.
02.
01. South Side View 02. Entering Through East Side 03. Entering Through West Side 04. North Side View
03. 160
The bridge is divided into two areas, each exhibiting different characteristics that makes it unique from the others. Therefore, when one moves from each space to another, their experience is different as it is shaped by the geometry of the exterior shell and the glass that directs their view and path throughout. Because every person has a unique way of reaching a moment of reflection and solitude, the space provides its users different methods of experiencing the space depending on their preference. The first space on the west side highlights the panoramic view of the lake, as well as a skylight to highlight the sky. The second space, also known as the “center� of the bridge, is about verticality and enjoying the skylight. That is why this space is narrower and the ceiling is higher than the rest of the bridge. Lastly, the third space has a large horizontal window, highlighting nothing but the view of the water. What often makes a space sacred is not just one grand space, but also the journey of getting there. Therefore, I wanted to design one that was inspired by the element of surprise and the idea of expansion and contraction. The center space also has a seating bench area to encourage users of the space to take a second out of their busy lives and stop for a moment of relaxation and reflection. By doing so, this explains that this is not just a bridge that connects two bodies of land but one that serves for a deeper connection. It is not about getting from one space to another but rather the moments that occur in the process of doing so. The way the space is designed in terms of the changes in height levels allows for the gradual change in sound levels throughout the space. The center is where classical music is played, making it where most of the sound can be heard. Whereas, the East and West sides of the bridge have relatively lower music levels, making it almost silent at the entrances. The reason behind this is for the middle to be the center of the space, so users can sense the change in acoustics as they are approaching it.
161
The Spot - Harbourfront
04.
Rachel Moniz
With a passion for art and design, Rachel has honed her skills and developed her own design philosophy while studying at Ryerson’s School of Interior Design. Tackling each project based on demographic, location, and function, Rachel understands the importance of user needs and the balance between function and beauty. Rachel is a highly motivated and results-driven individual and is excited to bring forth her design experiences at RSID with her throughout her journey as a designer. Rachel would like to thank everyone who has supported and encouraged her along the way and wishes the best of luck to the RSID family.
rachelmoniz4@hotmail.ca @rachmoniz linkedin.com/in/rachel-moniz-116b30128/ r4moniz.wixsite.com/portfolio 162
MON IZ course code irn 800
Pentimento
Reinterpreting the ancient concept of the traditional public bath, Pentimento focuses on bathing as a state of being, as much as an act of cleansing. Inspired by Turkish baths which combine exposure to warm air, then hot air-immersion, massage, and finally a cold water bath or shower, the bathhouse requires movement from one room or chamber to the next. Focusing on similar principles and beliefs of bathing as a catalyst to create community, the architecture of the bathhouse requires and creates a space of anti-conflict, anti-competition, and anti-hierarchy. Exposed to the elements, Pentimento is not structurally enclosed, allowing the architecture to be unsheltered from the earth’s precipitation and forces patrons to experience a moment of defenselessness against the strength of the earth. However, with some moments of sheltered architecture, Pentimento also presents an opportunity to be protected from the elements and pose a defense to the earth. Pentimento extends its architecture to a staggered structure that offers a private residence for the guests. The staggered architecture of the structure offers patrons with a different viewpoint offered in every room. The pods appear floating in the middle of the laguna and are isolated from the bathhouse. Accessed from a singular bridge that joins the bathhouse to the pods, patrons are then brought to their chamber by a singular elevator, or the transparent “rod� that hosts the cantilevered pods over the shallow water of the laguna. 163
Pentimento
01.
“Pentimento” or “repentance” refers to a change made by an artist during the painting process, evidenced by an image concealed within the work itself. Over time, the coating can fade away to reveal the previous version of the painting - the pentimento - that had been hiding underneath. The underlying issue that Pentimento seeks to solve is the issue of self-respect. With the pressures of our everyday lives, Pentimento seeks to strip the insecurities and overwhelming concerns that burden society each and every day, and instead offering them a moment of silence and reflection. 01. View from Personal Pod 02. Front Entrance 03. Communal Pool 04. Private Residence 05. Interior of Private Room 06. Interior of Private Room 07. Cool Plunge Pool 08. Hot Plunge Pools
02.
03. 164
05.
07.
08. 165
Pentimento
04.
06.
Kimia Mostafaei
Spaces serve a practical function, but they can also affect our moods and trigger our feelings. I am most interested in designing atmospheres that invoke the senses and evoke feelings and memories. I often use design elements such as light and colour to explore this. Above all, however, I believe that empathy, inclusivity, and sustainability should be at the forefront of every designer’s mind for every project.
mostafaeikimia@gmail.com @kimia.mostafaei 166
MOST AFAEI course code irn 800
Melancholy of Time
Set on the island of Filfla, near Malta, this project addresses the feelings of regret and melancholy that come from the passing of time. Time can change how we feel about certain moments in our lives. We may ache to go back to a certain time, but even if we were to gather the same people, in the same place to do the same things, it still would not be the same. This project allows users to experience and explore their memories indefinitely, thus easing nostalgia and bringing closure. 167
Melancholy of Time
01.
Once the visitor arrives at the island, they must know the hidden location of the entrance that will lead them into the rock through a tunnel. The large mass of rock on the island is punctured by seven voids which narrow at the top and provide natural light- the only source of light- to filter in. Inside these voids are a network of stairs and platforms which wrap around solid shafts. These staircases lead to “memory chambers�, other tunnels, and to the top of the rock exterior where they can reflect after their experience in the memory chambers. The journey to the memory chambers is dark and isolating to heighten the user’s senses and remove from them any indications of space and time, preparing them for a more immersive experience in the memory chambers. 168
02.
Melancholy of Time
03.
01. Interior Render of Void and Shaft 02. Exterior Render of Island 03. Section Showing Shafts and Memory Chambers 04. Plan Showing Tunnels, Shafts and Memory Chambers
04. 169
Shannon O’Grady
I am fascinated by all aspects of design, ranging from furniture design and graphic design to commercial, hospitality, and architectural design. Over the last four years, I have developed detail-oriented skills through both technical and creative-minded projects. As a designer, I appreciate inventive and innovative solutions, ranging from small detailed work to large scale projects. My B.I.D. at Ryerson University has helped harness my growing passion for architectural aspects of design, which I plan to further pursue through gaining valuable industry experience and completing a master’s degree in architecture.
shannon.c.ogrady@gmail.com @shannonoogrady linkedin.com/in/ogrady-shannon 170
O’GR ADY course code irn 800
Burrow
The Burrow is a spiritual retreat nested above one of the most significant and longest-standing water treatment plants in Toronto. Located above the heavily occupied R.C. Harris Water Treatment Plant, the site offers a unique sanctuary that aims to reconnect humans through natural properties within a sacred space. Dedicated to reflection and contemplation, the space seeks to reinvigorate the senses. Water is a fluid, free-flowing property used in harmony with light to promote reflectivity, tranquility, and peace. As an ambient feature in the space, the water interacts with light to ascend users into their own spiritual and transforming experience. Light plays a pivotal role in the process of making a space feel sacred. By utilizing these central views and sightlines of Lake Ontario, natural light washes through the perforated screen suspended against the windows and strategically placed skylights, maximizing each room’s interaction and connection to light. Natural light is a spectacular asset to this site as there are no high-rises in the vicinity to damper any opportunity of natural light. Built in the 1930s off Queen Street E. and named after the City Commissioner Rowland Caldwell Harris, the treatment plant is nicknamed the “palace of purification”. Thus, inspiring the concept of this project; to purify the mind, body, and soul through sacred space. The exterior property utilizes the acreage of land facing Lake Ontario, providing residents with an abundance of space to walk, socialize and exercise. 171
Burrow
01.
Once open to the public, the function of the plant provokes curiosity and excitement in its visitors. The goal of this retreat is to bring back that curiosity and excitement through the site’s connection to water and its viewports to the holding tanks below. This new program was also an opportunity to create a vertical connection between the existing water treatment plant and its new addition above. The flexibility and atmospheric qualities of both water and light create a sacred space unique to each user. The space will reflect their own perception of what it means and feels to occupy a consecrated space. 01. Bathhouse 02. Exploded Axonometric 03. Site 04. Exterior 05. Addition Plan 06. Large Yoga Room 07. Secondary Contemplation Space
02. 172
03.
04.
N
DN DN
DN ENTRY
WASHROOM M CHANGE ROOM F
WASHROOM F
FOYER
CHANGE ROOM M
SECONDARY CONTEMPLATION SPACE
PRIVATE ROOM #3
PRIVATE ROOM #4
OPEN TO BELOW
LARGE YOGA ROOM
PRIVATE ROOM #1
PRIVATE ROOM #2
CAFE/ SOCIAL
BATH
D E S IG N P L A N
07. 173
Burrow
06.
05.
Sally Park
Designing a space often varies by many different aspects such as scale, location and purpose. Designers employ their knowledge to thrive on creating moments that are aesthetically pleasing, yet safe and functional. These past academic years at Ryerson School of Interior Design have strongly encouraged me to approach design in a way that fulfills the client’s needs, through the use of design elements such as form, color and texture. I have worked on being familiar with using software such as Adobe tools, AutoCAD and Rhinoceros 3D. Engaging these skills, I’m looking to move forward with my passion for specializing in exhibit and commercial design.
sallyparkdesigns@gmail.com @desiignarchive linkedin.com/in/sally-park-4bb3a918a/ 174
PARK course code irn 800
Scoperta
Ultimately, the goal of my project is to address visual arrogance by incorporating whimsical and provocative moments that dignify the existing heritage site. This which will engage visitors into a dimension of a unique psychological experience. Developed in direct response to a small and abandoned island, Madonna del Monte in Venice, the labyrinth appears as its outdoor intervention, commemorating the forgotten history of the island and remnants of heritage monastery. In terms of its form, it is a carved out geometry that creates a unique shape of walls which is visually appealing as it also manages to prevent visitors from being completely lost. 175
Scoperta
01.
In response to the site that is surrounded by the Venetian lagoon, the labyrinth will walk visitors through 4 main areas; Invasion, Fluid, Parametric and Voronoi- which will eventually lead them into the existing monastery as a final destination. Visitors will then experience their emotions being triggered as their way of discoverying the hidden remnants of the monastery.
01. Site Plan 02. Isometric Diagram 03. Invasion 04. Fluid 05. Parametric 06. Voronoi 07. Concept Diagram
02. 176
04.
05.
06.
07. 177
Scoperta
03.
Sidnee Richardson
Completing the Bachelor of Interior Design degree at Ryerson University has been an integral accomplishment in my life. Studying at RSID has enabled me to become a creative, innovative and “outside the box” thinker. Alongside my education, I played on Ryerson’s Varsity Women’s Soccer team for all four years of my degree. This taught me how to manage a complex schedule with a full course load while being a part of the Ryerson athletics community. I have obtained a wide range of software knowledge such as Rhinoceros 3D, AutoCAD, Adobe Creative Cloud, and Revit. I had the opportunity to have an enriched internship experience at the firm HOK which gave me first hand training with technical drawings and the design process. I am excited to move forward with my life and travelling the world and even possibly pursuing a Masters of Architecture. I am excited to see what is next to come for my life in the field of design.
sidnee.richardson@ryerson.ca @sidneerichardson linkedin.com/in/sidnee-richardson-7659b1170/ fluidforms.wixsite.com/sidnee-richardson 178
RICH ARD SON course code irn 800
In Between
In a city where everything moves a hundred miles an hour, this space strives to make “in between� feel like a destination. Within the public sector of Toronto, the goal of this space is to give individuals a sanctuary where they can feel a sense of peace. The fluid form implemented within the space is user interactive and encourages a moment of stillness within the city. Users have the opportunity to sit wherever they choose among the variations on the installation. Facing benches exist beneath the structure, while users can sit within the curve on the top of the structure, or even on the stairs. Often within large cities there is not enough spaces to escape and enjoy moments of stillness. I am passionate about this project because I have lived in downtown Toronto for four years and often, I find that there is no where visually pleasing to sit and enjoy greenery. These pods will make individuals feel as if they are in their own sanctuary within a grand scheme of pods. 179
In Between
01.
02.
01. Through Alley Perspective 02. Module Section 03. Structural Model 04. Module Isometric 05. Module Plan 06. Module Front Elevation 07. Busy Alley Perspective 08. Through Back Alleyway Perspective 09. Night Perspective
03. 180
04.
06.
07.
08.
09. 181
In Between
05.
Sarah Ryner
Completing my bachelor degree at Ryerson School of Interior Design has helped accelerate my creativity, knowledge and networking skills. I have narrowed in on my passion for sustainable design with an innovative and artistic approach. Studying at RSID has helped me obtain a wide range of analogue and digital experience. I have tailored my passion of sketching and model making into a practical tool for communicating my ideas. From a digital aspect I am proficient with Rhinoceros, Adobe programs, AutoCAD and Revit. I am now excited to start my new chapter of traveling and implementing a sustainable lifestyle. I hope to incorporate all these aspects and learning experiences into the next steps of my design career.
sryner@ryerson.ca linkedin.com/in/sarah-ryner-184702173/ fluidforms.wixsite.com/sarah-ryner 182
RYN ER course code irn 800
Among the Trees
The site for this project is located in Kawartha Highlands, Ontario. This remote cottage is accessed by water only, making the 15 minute boat ride full of anticipation and excitement for the user. The magnificent views to and from the cottage are what make this destination so special. The proposal for this cottage is primarily to highlight and echo the surrounding environment. The goal is to design an experience of being in an interior and exterior space while walking among the trees. Different connections between interior and exterior spaces have been created, forcing the trees user outside towards the magnificent scenery. While preserving the lakeside view, this form will also produce new communal, multipurpose areas for the users. Focus is put on the cone shape that is created when looking through a telescope or looking at a focal point. The circular cut out, that has been formed from the cone shape, is intended to enhance and frame these beautiful views. Sustainability was an important pillar throughout this design process. All natural elements have remained untouched, making the design work around its environment. Each tree has been mapped out and given a generous amount of breathing room from the new structure. Proper transitions between the interior, screened-in porch and exterior extension allow for natural air circulation and temperature control. All materials were carefully sourced with the purpose of longevity and recycled qualities. The plan drawing displays the crucial progression between interior and exterior elements. The space is broken up from south to north (left to right) by the existing cottage, large screen porch, and new extension. The essential relationship between natural environment and structure is seen in the tree cutout section detail. The cone shape serves two purposes- one accentuating vertical sight lines, and two creating a funnel for any external elements to pass through. A wider opening lets the tree breath, giving space for growth and swaying. 183
Among the Trees
01.
03.
02.
04.
01. Plan Drawing 02. Key Plan 03. Parti Diagrams 04. Block Plan 05. Tree Cutout Section Detail 06. North View taken from New Exterior Extension 07. South East View taken from Standing on Dock 08. North West View taken from Main Interior Living Space 09. South West View taken from New Exterior Extension 10. Cross Section Drawing 11. Side View of 3D Printed Model 12. Looking through 3D Printed Model
05. 184
07.
08.
09.
10.
12.
11. 185
Among the Trees
06.
Emma Shaen
I originally had a different path for myself before coming to Ryerson School of Interior Design and had attained a Bachelor of Arts degree at Queens University. I ended up graduating early after realizing my true passion, interior design. Over the last four years in design school I have learned and experienced different types of design, firms and what it means to be a designer. It has only made me realize my love of graphics, the process, and influencing the way people feel in a space. As a designer I believe in practical, usable space but with a unique point of view that brings the imagined into reality. I want to create spaces that have this in mind and I know my design style will only evolve as time goes on.
emmashaen@gmail.com @emmashaen linkedin.com/in/emma-shaen-373a621a1/ 186
SHA EN course code irn 800
Acne Studios: Soho Store
In the SoHo district of New York City, the store attracts a modern global audience. It is New York's signature shopping destination that includes various luxury boutiques that feature fashion forward retailing and world famous brands.. These brands are pushing design boundaries, and their retail spaces should reflect that. At present, the majority of SoHo’s retail spaces are traditional and don’t push the envelope in terms of architectural design. By including more modern, fluid shapes into this space, it aims to encourage more retailers to think outside the box and contribute towards the constant evolution of New York City. Acne Studios is based and originated in Stockholm, Sweden. The fashion brand specializes in contemporary and minimalist mens and womens ready to wear clothes. The acronym ACNE stands for Ambition to Create Novel Expressions. This is due to the founder and creative directors interest in architecture, photography, art, and contemporary cultures- which is seen throughout the fashion houses ads, collections, products and stores. Acne Studios has become a popular brand for the 20-40 years old demographic, and stores are now located internationally including Paris, London, Tokyo, Los Angeles and New York. The brand continues to grow and are continuing to evolve the design of their stores to enhance their customer experience. 187
Acne Studios: Soho Store
Br oo m t.
eS
01. 02.
03. 04.
05.
188 Wooster St.
67 Wooster St.
The curved forms that are seen throughout the retail space are created from the exterior window mullions and flow into the interior, finally forming into clothing display racks. It is meant to serve as a unique feature that creates a whimsical atmosphere while also serving a practical purpose.
LED Lighting
Bent Aluminum
There are also lights and hangers built into the bent aluminum curves for the clothing display. They allow the merchandise to be displayed to the customer in its ideal form while being easily accessible. Also in order to secure the curves there are screw fasteners going through the interior of the bent aluminum into the wall to create a seamless connection.
Screw Fastener
Hanging Rod
07.
01. Site Plan 02. Floor Plan 03. Section 04. Isometric 05. Exterior View 06. Interior View 07. Curved Clothing Rack Detail
189
Acne Studios: Soho Store
06.
Melissa Stabile
Melissa has found the spaces that shape the way we live and hold the memories of our experiences fascinating from a young age. From exploring her style through her four years at Ryerson, she discovered her passion for the fusing of old and new design. Melissa’s school trip to Italy to study the history of art and design, while connecting to her heritage, allowed her to further delve into her style of design. Melissa’s aspiration is to design spaces that evoke feeling and moulds the way people interact with each other, as well as how we relate to time and place. Melissa’s interests include interior, graphic and furniture design.
melissa.stabile@yahoo.ca @designsbymelissastabile linkedin.com/in/melissa-stabile-61b33b165/ 190
STA BILE course code irn 800
Aqueduct
The project concept is to bring back the human experience of water. In today’s society, water can be found by the turn of a tap. People no longer want to think about where that water comes from or where it goes. Water used to be thought of as a symbol of wealth, power and demonstrating healing abilities. Located at the Ryerson School of Interior Design building, the goal of this design is to capture the attention of a student as they enter the building by the sound of falling water: enticing them to follow the sound up the stairs, down a hallway and into the room they can then use to relax and to get away from the stress of university life. Taking inspiration from Roman architecture, the water flows through a modern aqueduct. Water Harvesting: Water harvesting refers to the practice of collecting rain water from the roof or any other hard surface and treating it for re-use on-site. Water is collected in a catchment area, where conduits convey the rainfall through to filtration systems on its way to a cistern and is then stored away for later use. Benefits of Using Rainwater: The cost and energy savings associated with the reduced use of treated municipal water, and reduced volume of storm-water runoff helps to prevent flooding and channel erosion. 191
Aqueduct
01.
02.
Health Benefits of a Water Feature: Water stimulates the senses, which in turn leads to an emotional response. Water features located within dense, urbanized cities are considered a refuge for relaxation. The brain finds the rhythmic sound of water movement soothing. The stimulation of the senses can cause the viewer to forget what they were doing, creating almost an entrancing physiological atmosphere. Studies have shown that water and natural elements enhances childrens’ neurological learning and promotes their overall mental and developmental growth. Knowing that children learn better being exposed to water makes it possible to deduce that adults need it as well to further their learning- since learning never stops. Interaction with nature also inspires creativity. 01. Sectional Perspective 02. Diagrams 03. Axonometric Story Drawing 04. Partial First Floor Plan with First and Third Key Plans 05. Hallway 06. Partial Third Floor Plan 07. Resting Room 08. Stairway
03. 192
05.
06.
07.
08. 193
Aqueduct
04.
Delaney Stedman
Delaney has always appreciated the beauty of structure and looks forward to being part of creating surroundings that inspire people with her attention to detail through design. The most captivating interior spaces connect on a personal level and as a designer, her goal will be to capture your story through her work. Over the past 4 years at Ryerson University, Delaney was exposed to many areas of interior design that has allowed her to narrow her focus towards the entertainment and education sectors. Delaney is always striving to broaden her knowledge in the design industry and this has led to her currently working on becoming a LEED Green Associate, in addition to working towards achieving her ARIDO title.
delaneyestedman@gmail.com @delaneystedman_ linkedin.com/in/delaney-stedman-480266171/ delaneyestedman.wixsite.com/mysite 194
STED MAN course code NEXT Hub University : Breaking The Education Boundary
irn 700
Thriving in the watershed of rich American history flows the Potomac River, grounding Washington, DC’s unique territory which is home to the university that will nourish the minds of our future leaders. NEXT Hub’s distinct space supports spatial concepts through fluid designs, color blocking, selective zoning, as well as through visual textures and vertical circulation creating a powerful sense of wayfinding within the floor plate. Added value has been incorporated into this space by including a private 'waterfall' staircase for the convenience of its occupants, and a cafe that will provide a nurturing environment for the internationally diverse community of NEXT. The typography of the Washington landscape is captured within the floor plate bringing the outside within the walls of the university. By providing a consistent vibe with cohesive spaces, NEXT Hub will provide a quality education in a unique environment that will positively impact and empower students for a life of success. The constant movement, gathering of information, and thought process of the brain can be easily compared to the flow of a river. When one envisions a river, we imagine the force of power and life that a river presents, with its constant movement and distinctive approach. The concept of learning is unique to each individual, therefore, mimicking the originality of the river-like path. As information is brought into the mind, it travels down a similar path of unexpected twists and turns, experiences and challenges as it winds and bumps through the learning process. While this path has its share of obstacles, in the long run these are the challenges that allow the mind to obtain optimal strength. By experiencing constant change and roadblocks, we prompt growth and expansion of the mind. By learning like a river, the ability to spark the thought process is ignited and this enables the brain to thrive in the journey of learning. The bending path of the Potomac River, in Washington, DC, creates the circulation necessary to foster learning in the NEXT Hub. 195
NEXT Hub University
The incorporation of vertical design in the NEXT Hub allows for the opportunity to incorporate a more modern approach to learning strategies within a flexible educational space. The more modern approach of vertical circulation- as opposed to a traditional isolated row of rooms- promotes learning and aligns with the educational demands of the 21st century. The incorporation of stairs that carry the students to the various spaces within the NEXT Hub is based on the idea of a waterfall that carries the freedom to learn within the various areas. Thus, providing the students the opportunity to thrive as individuals. This supports today’s education system of active learning experiences that promote forward thinking and places the students as participants in their learning experience rather than spectators. Also, the inclusion of multi-functional areas with modular furniture allows for the opportunity to reconfigure spaces that suit the teaching approaches of the staff as well as the needs of the students.
01.
02.
03. 196
For a closer look, the Pooling Hub Lounge (image 04.) is the communal hangout space. This large area will allow for numerous students to sit and lounge with friends, to await a class, meeting, event or just to hangout. With the main circulation of the building being in the center and with a lounge space incorporated within it, a flow of people will create an opportunity to socialize. This ‘prop and pool’ idea creates a strong connection between the floors and in addition, a unique seating for the members of NEXT Hub. 04.
06.
07.
01. Evolution of Staircase Concept 02. Welcome/Reception Area 03. Section & Axonometric Floor Plans 04. Waterfall Pooling Hub Lounge 05. Eatery 06. 10th Floor Circulation and Hub Area 07. Hourly Childcare Centre
197
NEXT Hub University
05.
By amalgamating Washington’s unique typography with specific design considerations implemented in NEXT Hub, the end result is a visually motivating educational setting. The focus on wayfinding and circulation in the design was important in creating a cohesive plan that promotes flow within the space that is beneficial to the occupants. The use of color blocking throughout the NEXT Hub is an essential component in defining each space used by the students. The incorporation of visual cues, such as color, creates a sense of wayfinding that is easily understood by students and therefore allows them to move within the space with ease. Necessary design elements such as the staircases, serve a dual purpose since they not only provide the vertical flow between the floors of the NEXT Hub, but also inspires the ‘prop and pool’ concept that encourages socialization between the students. This environment provides a setting in which a student can move effortlessly throughout the space allowing them to feel comfortable in their setting and also focus on their educational experience.
Nicole Tetelbaun
I have the desire to design beyond the envisioning of colors and patterns by enhancing minimalistic interiors through the use of textures. I graphically portray my style by utilizing neutral colors and simplicity, but with an edge. I have been inspired to exceed at the prospect of designing to express my skills and creativity. I perform outside the norms to pursue a unity between humans, nature and architecture that go beyond the idea of creativity. Graduating from Ryerson School of Interior Design, I was taught that if you’re openminded, you can do what you love and love what you do.
ntetelba@ryerson.ca @_nicoleerindesigns linkedin.com/in/nicole-tetelbaun-7a93971a1/ ntetelba.wixsite.com/biophilia 198
TETEL BAUN course code Biophilia - Ryerson School of Interior Design
irn 800
Biophilic design is defined by the research and water innovations that aim to develop a building design that collaborates with its environment, as well as with other forms of life. Ryerson School of Interior Design’s building redesign aims to go beyond the norms of structural functionality, whilst also tackling its lack of sustainability. Reconstructing to an open concept, the new and improved design has facilitated an interactive space with areas that have an indoor built-in eco-system. Forming the idea of the circle of life, it begins with something as simple as a blue roof. Gradually, the roof builds a collection of rainwater that travels through a pipeline to feed the interior eco-system. This is filtered into greywater, and can then be re-used to supply the plumbing system throughout the building. By physically and visually collaborating with nature to bring the external world internally, it brings in a beautifully aesthetic water cycle system, as well as resulting in better wellness for the students within their everyday lives. Using the current architecture's aesthetics as a foundation, a new personality is created for the building through design. This is done by introducing non-structural elements within the structure. The techniques used ensure that the studio space has a unique style included within its architectural features. Another main aspect of contributing to the interior is to explore new trends, and learn how to incorporate the different structural features. Primarily, the design must provide a functional purpose, whilst also determining the space requirements. When it comes to humans and nature, one cannot play its role without the other. To become successful, the design reflects those who use the space within it. Specifically, when focusing on a feature in the design, nature has a big role as a visual and decorative aspect, as it lays like a skin over the physical structure. 199
Biophilia - Ryerson School of Interior Design
01.
02.
01. Section of RSID building 02. Hybrid Render of Foyer 03. Sun and Water Cycle Diagram 04. Axonometric Diagram of Eco-System
03. 200
Biophilia - Ryerson School of Interior Design
04.
An ease of movement is created by minimizing the number of corridors, and expanding the foyer into the atrium. The redevelopment moves the staircase in the foyer is symmetrically to each other. This opens up the concept and allows the natural light to be absorbed across the entire front of the buildingfrom the ground level to the third floor. Located on the main level between the stairs and below a large glass -skylight, sits a bedding of exotic plants that correspond to the partition living walls on every floor- which are situated to the west of the elevator. To visually enhance the space, the outside is brought indoors by continuing the naturistic environment through an indoor ecosystem which is placed in various areas of the building. 201
Maria Tevyants
As of May 2020, I am a graduate of Ryerson’s School of Interior Design. In addition to interior design, I am passionate about architecture, graphic design, photography, and visual art, and I believe that these fields almost always work together. In my eyes, one of the most valuable pastimes is to travel as much as possible and to observe the world through a critical lens. My sketchpad and camera follow me to every destination, and I use them religiously to capture the beautiful moments of daily mundanities.
mariatevyants@gmail.com @mariatevrsid linkedin.com/in/maria-tevyants-05a514146/ mariatevyants.wixsite.com/portfolio 202
TEVY ANTS course code The Pandemic of Mobile Technology Addiction
irn 800
The rise of technology has changed nearly everything in its wake. Technology, namely mobile technology, often accelerates human alienation and social isolation. Two people sitting directly across from each other at a table distracted by their digital devices can be worlds away, each in their own bubble within the digital realm, sabotaging the potential for human connection. Unfortunately, time does not stand still. It passes them by, unnoticed. Some of the things that this space aims to achieve are to lessen the dependency on technology to satisfy our social needs- to find inner peace, to find beauty in everyday life, to improve our ability and willingness to communicate with the people in our immediate surroundings, and to stop trying to “pass the time”. Time is precious. Journey: The troubled user, ideally with a history of overdependence on technology, sets on a journey to correct their lifestyle. The rowboat, just big enough for three, makes its way to the shore of nature’s 300m tall creation: the Santa Maria la Redonda Island. Determined, the user hikes to the collective space, stopping occasionally to catch their breath and enjoy the shade. The sounds of technology are contained within the cutting-edge structure that mimics the mountainscape. The space fills with sounds of anti-life, specifically of human beings and the devices that they depend on so heavily. The air becomes stuffy. The only view outside is the one that is occasionally unobstructed by crowds of people. Days pass, and the habit sticks. The environment is uncomfortable. Restless and unfulfilled, the users seek an escape. There is an elevator. An old, hand-powered one just big enough for one. 17 metres away, there is light. Nothing but sky and sea for as long as the eye can see. And at night, the stars. Better sleep, better health, better communication. Nature’s remedy. 203
The Pandemic of Mobile Technology Addiction
01.
To create a space of recovery for the users, it was important for the users to first experience the captivity of technology addiction in a literal sense. So, I decided to carve into the mountain. In the above sketches, I am showing a dark, prison-like environment. This is meant to be an uncomfortable space for the users; one that makes them restless after a prolonged period of time. The inclusion of a polygonal glass façade is meant to house the prisonlike space. It acts as a separation between reality and digitized life. Seeing the outside but having no interaction with it is representative of being in the digital world where screens are the glass encasement that separates us from the present moment. 01. Concept Development Sketches 02. Photograph of Completed Physical Model (1:75) 03. Snapshot Series: Journey Up 04. Snapshot Series: Technological Prison 05. Snapshot Series: The Escape 06. Snapshot Series: Nature’s Remedy 07. Snapshot Series: Bird’s Eye View
02. 204
04.
05.
06.
07.
205
The Pandemic of Mobile Technology Addiction
03.
Robert Tin
I think, therefore I design. I design therefore I am. I am compassionate when I design. I design because I love life. I love design. Design is humanity; I speak its language. I live its philosophy. I enjoy its poetry.
robert.tin@ryerson.ca tinrobert@outlook.com linkedin.com/in/robert-tin tinrobert.wixsite.com/portfolio 206
TIN course code irn 800
Emotive Space: Realm of Perceptions Location: The abandoned island of Madonna Del Monte in the Venetian Lagoon & our minds
An emotive space is about a realm that can bring you into a state of introspection, where what matters is not reality and actual time but your perception of reality and time. It is a place that embraces and adapts to change. As every ending can be perceived as new beginnings, so should this realm of perception possess the ability to evolve into a place that never ends but constantly adapts to change. The design was first inspired by the rising water level of the Laguna Veneta. It started with the desire to turn what would be the death of the island into the beginning of a new identity of the space. Even though the existing site is in abandonment and deterioration, it can be perceived as a sign of change. It is evolving into something else. The emotive space embodies the act of never-ending changes; it serves as a reminder for humanity to constantly find new goals and new perspectives in life. Reality is very much affected by how it is projected and perceived. The concept of perceptions is further developed by blurring the lines between the water and the sky, reality and imagination, history (such as Carlo Scarpa’s Venetian architecture) and mythology (such as Noah’s Ark). 207
An emotive space is a realm of perception. Perception is a personal interpretation of an experience. It means that there is a direct interaction between the physical world and the mind. When we live in a constructed reality made of perceptions, we live in our own space and time. [01.]
[02.] An emotive space should not be defined by a fixed set of true measurements; the exact numerical values
should, rather, be coincidental. Instead, a space should be defined by how we feel. We use adjectives such as “wide”, “narrow”, “deep”, “shallow”, “high”, “low”, “far”, and “near” to describe spatial qualities only when the spaces have evoked a strong sensation within us.
Emotive spaces provoke sensations. When we react to our surroundings, it gives rise to our concept of time. Without sensation, time stops in our realm of perception. Time only stops when we cease to exist. We do not want time to stop, but instead to slow down so we can savour every moment that we are alive. To do so, we can slow down our perception of time.
Emotive Space: Realm of Perceptions
[03.]
01.
02.
03. 208
Our perception of time depends on how we experience our surroundings. Just like spaces, the empirical measurement of time does not matter to us when we are in our emotive spaces. In our realm of perception, the duration of an instance is defined only by perceivable cues. [04.]
[05.] Take the settings of Madonna Del Monte- the
04.
In our realm of perception, we can create our own flood and our Noah’s Ark to drown our sorrowful past and find new vantage points so that we may be reborn and once again find new directions to our lives.
[06.]
05.
[07.] Once we can change our perception of things,
we can break free from the confines of what we thought is actual and absolute; we can find new paths that lead us to new possibilities, and new beginnings from old ends...
06.
07.
[07.-->01.] An emotive space also creates a lasting impression and resides in our memories. We remember not as much as to what happened but to how the things that happened made us feel. We remember our perception of things, and therefore, an emotive space lives vividly in our minds. Yet, it is not solid or set in stone; it transcends all material reality. It will continue to inspire creativity and generate hope. It will linger on and become our soul’s refuge. It will be the fortress that safeguards our perception and attitude to life.
01. Madonna Del Monte. The Fortress of Perceptions. 02. The Emotive Space Has Been Unlocked. 03. Water Garden where Time is defined by Water Movement. 04. A New Path Arises and Reveals Itself. 05. Ascension Into a New Construct, On a New Amplitude. 06. Life is a Vesssel. A Noah’s Ark to Find a New Beginning. 07. Arriving at a New Vantage Point.
209
Emotive Space: Realm of Perceptions
only measure of time is from the changes of the tides, the oscillation of the wind and waves, the quality of daylight, and the frequency in which precipitation falls. We can control how we perceive those sensations by how we choose to shape our emotive space. We can create various channels in which water flows, various altitudes in which water falls, various obstructions in which the winds may pass, various directions we choose to see the sun, all to manipulate our perception of time so that it is no longer linear and solid.
Mindy Xie
Mindy Xie is a person who is strongly interested in hospitality and residential design. As an emerging interior design professional, she has experienced using different design software. She always considers herself a ‘forever student,’ as she loves to learn new skills. She is a colourist; she loves to use colour to highlight space and she loves hand sketching to create a render. Her goal is to bring the best experience in the most unique way for everyone.
min.xie@ryerson.ca @mindyxie_design linkedin.com/in/min-xie210
XIE course code irn 700
group members Megan Barrientos, Conan Chan, Robert Tin
A Vacant Chinatown East
East Chinatown has become quieter in recent years. Its historic value and memories make it an important heritage to be preserved. The purpose of the installation is to explore and question traditional ways of heritage preservation while addressing the current characteristics in the neighbourhood in regards to its changing demographics, the vacancy of shops, and the mundanity of everyday life. The installation aims to convey the sense of emptiness and loss by projecting a sectional copy of East Chinatown street that is to be hypothetically preserved as a heritage item. The subjects of loss are the plastic baskets used by Chinatown merchants and vendors as building blocks for their urban furniture. These are the traces of their way of life and their unique addition to an otherwise uninteresting strip — it gives the area a sense of their ownership and identity. These are also things that would be overlooked by heritage preservation programs. The form of the baskets is curated using both traditional and digital techniques to illustrate the increasing use of digital technology in heritage preservation. Though more convenient, the digital methods produce glitches and more inaccurate portrayals of the original. On one side of the street, the mundane, flexible, and cheap baskets are preserved in precious, brittle, and expensive porcelain; playing on the irony of materials to convey the irony of how we preserve things now. On the other sidewalk, are the plaster moulds of the baskets. The distance between the two sidewalks conveys the fact that no matter how close things are recreated, the original can never be fully replicated. The very essence of the original baskets cannot be captured leaving only an imprint that is vacant and empty. 211
A Vacant Chinatown East
01. 02.
03. 04.
05.
212
The digitally constructed baskets are glazed in mirror for it amplifies the ambiguity and nonphysical quality of digital objects. The traditional baskets are glazed in gloss white as it resembles traditional porcelains. The way that the baskets are arranged is viewer-centric. The colour of the baskets radiates from mirror to white; from the centre of the seats outward. The mirror and white assortment creates a visual and conceptual gradation. The closer the viewer examines the baskets, the more they realize the loss of authenticity. The more the viewer interjects themselves into the installation, the more misrepresentations they would find, i.e., the glitches and words.
07.
01. Molds 02. Casts 03. Glaze 04. Layout 05. Site Layout 06. Process 07. Floor Plan
213
A Vacant Chinatown East
06.
Alisa Zanko
As a designer with a strong inclination towards visual art, I make it a point to saturate my work with my passion for colour and light in adventurous and distinctive ways.
alisazanko@hotmail.com @aguiltyparty 214
ZAN KO course code irn 800
No Place Like Home
Memories are distant and sometimes inaccurate. Imagination fills in the gaps. They are somewhat removed from reality and their details are often blurry. The association to a place or an event that has passed and doesn’t exist anymore can be so vivid that as it is contemplated, the structure of time and reality ceases to feel real and becomes irrelevant. No Place Like Home is an exploration of how a place can be a physical location in the world, but it can also be a metaphysical “location” in the mind. The project is a manifestation of a memory of home. Home is something that many have lost and feel disconnected from. A particular emphasis is placed on the immigrant experience of being displaced from one’s origins, thus losing a connection to “home”... existing somewhere between two places, between memory and what is real. By being located along the Betty Sutherland Trail in Toronto, No Place Like Home is simultaneously part of the city and separate from it, much like memory is part of reality but also disconnected from it. A visit to this location provides an experience outside of our glorification of constant work and hustle, something that is a common theme in immigrant life. It provides an opportunity to confront some potentially uncomfortable feelings of alienation and displacement. The project is a minimal addition to an existing stone structure which was once part of the old Graydon Hall property and is now abandoned. 215
No Place Like Home
01.
As the user makes their way to the structure, they are met with a corten steel entry threshold. It is elongated slightly beyond the stone shell of the structure as a way of emphasizing the transition into space. Like the stone structure, the entry threshold has no roof. The potent colour of the weathered steel attracts the eye and draws the user inside. Upon entering the space, the user becomes aware of the light coming from within the floor, taking the shape of a living room, kitchen, and bedroom floor plan of a home. The floor is made of removable panels with the layouts cut into them, with lighting installed beneath. As they begin to explore, they hear sounds of muffled voices, footsteps, water filling up a bathtub, a table being set with plates... These household sounds are played through a speaker that is also embedded into the floor, while the user goes deeper into the world of memory. 216
02.
No Place Like Home
03.
01. Exterior View and Top View 02. As-built Plan and Intervention Plan 03. Exterior Elevations 04. Section Showing Floor Panels
04. 217
Sandy Zhao
Sandy Zhao is passionate about creating meaningful installations and interior spaces for users; suiting individual needs and lifestyles to the best of her abilities. Her interest to study interior design began with her curiosity of exploring galleries of art and design and its freedom of creativity. Through observation and reflection, her education has developed her fascination with the world and its users. As her design journey continues, Sandy Zhao is eager to explore new opportunities and practices in the world of design.
sandyzhao@ryerson.ca @_sandyzhao_ linkedin.com/in/zhaosandy/ sandyzhao.ca 218
ZHAO course code irn 700
group members Jasmenica Filice, Tammy Ou, Nicole Tetelbaun
Spirits of Chinatown
One thing is certain about Toronto’s Chinatown: it’s always changing. Exploring the transformation of a single building, the installation explores past, present and future demolitions and constructions of Toronto’s Chinatown West. Located at 346 Spadina Avenue, it is the former site of the Hsin Kuang Centre/ Bright Pearl Restaurant. The building, once a bustling center for the Chinese community, in its recent years has undergone gentrification. Today, it has been stripped of its Chinese elements and replaced with the futuristic sight of a modern cube. Constructed for economic gains, the site continues to struggle to find an anchor tenant, continuing to sit empty since its reopening in 2018. Constructed from 3D scans, photographic reconstructions and fire insurance plans, Spirits of Chinatown tells the story of 346 Spadina Avenue through time. The materiality of the three ‘spirits’ in the installation changes based on the changing heritage preservation technologies of the time- namely their increasing (lack of) ability to capture the building. Today, 3D scanning has become the dominant practice for documenting sites of heritage, capturing all surfaces of the building as a digital mesh. The ‘spirit’ of 346 Spadina Avenue today is shown as a cast 3D print of a 3D scan. Before 3D scanning became accessible, sites of heritage were captured through architectural drawings through lines. The ‘spirit’ of Hsin Kuang Centre/ Bright Pearl Restaurant is thus shown as a wireframe, made only of lines. Finally, the ‘spirit’ of the Jewish Labour Lyceum was only recorded as a building footprint in the 1890 fire insurance plan. With this as the only knowledge and memory of the building, its ‘spirit’ is represented as the wooden structure left as the skeleton of the installation. Spirits of Chinatown shows the story of 346 Spadina Avenue and its emphasis on the preservation and progression of the past, present and future form. 219
Spirits of Chinatown
01. 02.
03. 04.
05.
220
Spirits of Chinatown
06.
According to the City of Toronto Fire Insurance Plans, the original building structure can be traced back to 1890 as it became the Jewish Labour Lyceum. In 1971, the building was sold to Hong Kong investors and became the Hsin Kuang Centre/ Bright Pearl Restaurant. As of 2018, the structure has been stripped of its Chinese inspired faรงade and replaced with the futuristic sight of a modern cube for commercial use.
07.
01. CNC Milling of EPS Foam 02. EPS Foam Finished in Spackling 03. Welded Wire Rods 04. Stained Wood Structure Secured with Corner Braces 05. Structural Diagrams 06. Exploded Axonometric 07. Soft Install of Spirits of Chinatown
221
Siya Zhou
Siya Zhou had developed an early interest in arts and design, and so she continually studied and explored Interior Design at university. She is proficient in the application of colour, material, and the aesthetic form, as well as paying special attention to detail. She is always passionate about solving challenges with unique design solutions and using strong spatial planning.
s1zhou@ryerson.ca linkedin.com/in/zhousiya 222
ZHOU course code irn 800
PRO/K
PRO/K is a fashion shop that uses the product itself as one of the design elements to create an innovative space. The design interprets natural and organic elements into the spatial experience; creating connections between people and space, between space and space, and between emotion and environment. The fashion label PRO/K is primarily focused on women’s everyday casual wear with an emphasis on basic silhouettes and thoughtful detailing. The logo and brand concept of PRO/K are inspired by natural elements, which highlight the dynamic silhouette of rocks. This leads to the design of interiors with an organic shape, as well as correspond to the brand concept of clothing that features basic silhouettes. The primary material that has been applied throughout the store ceiling is a flexible and translucent PVC film called Barrisol Stretched Ceiling that allows creative shapes, as well as the possibility to play with light intensity. In contrast to the white organic background, all the clothes that have been laid out are black in colour. Customers can choose their fabric, colour, and stitching style in the sample area behind sample curtains. Colourful suspended curtains are made out of fabric samples that customers can pick for customization- whilst doubling as a “soft” partition that divides the open space into a semi-private space. The interior design philosophy of PRO/K focuses on customization and the digital experience. The digital mirror is the most interesting moment within the fitting room. It helps customers pick colours, fabrics, sizes, and projects it onto their body. Ordering and purchasing then occurs primarily through their online store. 223
PRO/K
01.
02.
01. Store Layout - CAVE 02. Sample Area - CLOUD 03. Fitting/ Consultation - CURVE 04. Storefront - PRO/K
03. 224
PRO/K
04.
The storefront entrance is designed to simulate the “cave� experience with a narrow and unpredictable curve, while also demonstrating the brand concept and logo of PRO/K. The material applied to the storefront is a translucent stone veneer and is illuminated by LED light panels in order to create a bright storefront in contrast to the dim interior atmosphere. The store has been divided into three zones: clothing display (Image 01), sample layouts (Image 02), fitting room, and consultation (Image 03).
225
CLASS OF 2020 Ahilla Abdullah Sana Ahmed Zallah Akbari Emily Allan Ryan Anning Clair Balkowski Megan-Shine Barrientos Rémy Bles Christian Botosan Brittany Boudreau Danielle Brathwaite-Lynch Victoria Bruno Jenna Buchwitz Conan Chan Peng-Yun Chen Averil Copp Thanh Do Giovanna Falzone Hayley Farbycuk Katherine Fazari Lauren Fernandes Jasmenica Filice Myiah Fluke
Ilanit Frolov Candy Fung He Kaashif Furquan Zoe Galipeau Shannon Gallagher Sara Garisto Natalie German Natalie Ghobrial Claire Goble Madeleine Grais Tiantian Guo Katie Houghton Jamie Iamarino Saelim Jang Sara Jaramillo Gomez Joanne John Tina Jones Veronica Krolicka Lauren Kylie Vanessa Lai Phoebe Lau Celine Law Amy Chen Hui Ling Li
Anna Li Chuhan Lin Johnnie Liu Claudia Lopes Adrian Lukaszczyk Rachel McEachran Julie Meunier Hina Mistry Salma Moawad George Moneta Rachel Moniz Kimia Mostafaei Bisma Naeem Duyen Nguyen Shannon O’Grady Tammy Ou Yuanfan Pan Sally Park Soon Park Ardalan Rafiepour Amanda Redpath Sidnee Richardson Victoria Ruccella 226
Sarah Ryner Daniela Sanchez Rodriguez Emma Shaen Vesta Soares-Jimenez Daniella Speziale Melissa Stabile Delaney Stedman Nicole Tetelbaun Maria Tevyants Robert Tin Kavan Tran Shiwen Wei Mindy Xie Alisa Zanko Sandy Zhao Siya Zhou
chair Swetha Srikanth, finance executive Megan Barrientos, graphics executives Ilanit Frolov, Joanne John, media & marketing executive Duyen Nguyen, operations executives Candy Fung He, Hina Mistry, project coordination executive Kaashif Furquan, site executives Celine Law, Amy Li, Adrian Lucaszczyk, Sandy Zhao, sponsorship executive Anna Li, graphics associates Conan Chan, Isabelle Yi, media & marketing associate Jenna Buchwitz, operations associate John Sicat, project coordination associates Thanh Do, Nehaa Rahman, site associates Pooja Patel, Kristen Romano. While we were not able to create our physical Year End Show in April, the YES Committee worked on various initiatives throughout the year, including hosting an Installation Proposal Night, creating a booth for the Interior Design Show 2020, and showcasing work from all four years on social media. Thank you to each team member for taking on various roles throughout 2019 and 2020 and supporting RSID students. 227
media sponsors
in-kind sponsors
SPON SORS
principal sponsors
senior sponsors
intermediate sponsors
junior sponsors
Thank you so much to everyone involved in creating this publication. Our goal is to honour the graduates and connect them to the industry and the public, and everyone that has contributed to Archive 2020 has made this possible. Thank you to our sponsors and viewers for all the support that we have received throughout the year. We hope we can continue to archive our work in future years, and we hope you have enjoyed this first edition! 228
Archive 2020 @yesrsid yesrsid.com issuu.com/yesrsid chair.yesrsid@gmail.com